The ConstruKction of FraKctured - from the Diary Archives of Robert Fripp at DGM - Page 1 - 2 - 3
Webmaster's note - until the name was changed on 16 December 1999, "FraKctured" was referred to as "Larks' V".
Tuesday 26th. October, 1999
18.20 A good day. We continued to work with yesterday's warped Crimson blues. It continues to baffle me but it's fun. And onto a piece which I've been hesitant in moving forward. It's an area which I haven't played in since 1974: very European, very difficult, involving whole tones and fast continuous single-note lines. Part of the same family blood as "Fracture".
Monday 1st. November, 1999
19.19 Death! Pain! Horror! Suffering! Misery!
Experientially, a horrible day. We began well with the "F" piece. Then Larks' IV died on us. An idea I'd been working on simply didn't. So we moved on to "Light ConstruKction" and developed that successfully, but like pulling teeth. Ade is a little under the weather now. It gets dark sooner, it was grey & raining. The kind of day that makes you wonder whether going home isn't, after all, the best option.
Tuesday 2nd. November, 1999
21.29 After yesterday in "The Great Divide" I have been renewing my appeals to the Muse, the creative power of inexpressible benevolence which wishes more for us than we can bear to know. My morning was spent in what is currently known in Crimspeak as "Pencil Frenzy", an analogue of Adrian's "Word Frenzy".
In those areas where I feel able to present initiatives, or suggestions for new repertoire, my MO is to spend time with guitar, manuscript & pencil. This is not as cerebral an activity as it may appear from these few words. The process is more instinctive, the manuscript a form of remembrance. The notation then allows for a different form of processing, which is primarily cerebral. Inversion, retrogression & mechanical treatments, utterly beyond my power of internal audial representation, then become possible. It also means that I save a lot of time banging about testing ideas with the team.
This MO doesn't always work, and my manuscript books over the years are littered with more dud ideas than power surges. But every now and then I pull out a manuscript book and look at the origin of, for example, the fast unison breaks in "Schizoid" or more recently the solo guitar intro in "Larks' III" from 1983 and revisit the time and place of download.
Today's Pencil Frenzy involved developments for the "F" piece, adding a building block which has been waiting to be appended, and - most significant - two possible development steps for "Light ConstruKction". One of these proved monumentally successful with the team. This was an idea which has gently presented itself several times since yesterday afternoon, away from the guitar, as I considered what was needed. For the first time since 1984, Crimson has re-adopted the Belew - Fripp interlocking guitars in a new piece of music. "The boys are back in town!" RF said to Ade. This with a Crim rhythm section negotiating their independent but linked transitions between 10/8, 11/8 & 12/8, and all at 152bpm.
The "F" piece also worked, but by 14.35 my brain was dead. Four hours a day, every day for intensive writing, is a lot. This in addition to personal writing & practice. We're holding in at a basic 5-6 hours together, plus the BPM team's digital editing & Pat's editing and annotation of our running DATs. At the end of a day, I'm wiped flat.
Friday 5th. November, 1999; 16.37
A good day. Rehearsals mainly concentrated on the songs (i.e. vocal pieces) being developed. My morning's Pencil Frenzy was directed towards Parts IV & V of "Larks' Tongues" and "The ConstruKction Of Light". The guitar parts are frighteningly difficult and several steps beyond anything I've attempted in public for 25 years.
Saturday 6th. November, 1999; 17.15
Today is a clear day, rather than a free day. I've been working on "Larks' V", reading and developing my rudimentary computer skills.
Monday 8th. November, 1999; 20.48
Never do I want to hear a note again. Exhaustivo to the max.
My day begins at 06.30 with morning sitting, reading and Pencil Frenzy prior to the Team arriving and firing up around noon. By 16.00 I'm limp and useless, unable to make suggestions or take initiatives, good only for dribbling pitifully onto a floor covered with pedals and sophisticated devices which, by then, hold no interest for the guitarist. About the same time Ade's cycle comes on and he gets revving. Then Pat gets going too. Trey is a hero and, tired ears or not, stays the course. The pitiful Anglo hobbles from the room in shame. And never recovers until the following morning.
Nevertheless, each day we move incrementally forwards and I recall the aphorism: "Small additional increments are transformative".
Today "The ConstruKction Of Light" got perilously close to having its form agreed, and we got almost as close to playing it. The tiring part, for me, is the level of focused attention required. Pencil Pushing is a day in itself without the pencillator then becoming a guitar player, feebly attempting to remember parts and play them with sufficient competence to mesh within the consort.
Thursday 11th. November, 1999
The group day began with a stunning "Coda" to "Larks' IV". Pat & Adrian let rip and stomped the sucker flat. Then Pat, Trey & RF addressed the details of "Larks' V" until around 16.00 and Ade returned to blast through "Larks' IV" & "Light".
Friday 12th. November, 1999
Today: we ran "Larks' V" and "The ConstruKction of Light", to get these further into the body. P,T & R went further into "Larks' V", which holds terrors for me. Ade returned to run through the blues song, "Larks' IV", an improv, and a final reprise of "Light".
Sunday 14th. November, 1999
14.00 My weekend of personal work is directed towards memorising the two new "Larks'" pieces. They follow the Crimson model of having booby-traps placed for the unwary. Not only are my parts difficult to play, they are also difficult to remember and very confusing. These serve several purposes, one of which is to encourage the players to remain alert. It's not possible to play Crimson music on automatic without train wrecks, explosions and exposure to public ridicule. On one of the occasions that Tool came to see Crim "Larks' II" spectacularly disassembled itself.
Monday 15th. November, 1999
Overall, a good day. The 3 major instrumental pieces all moved forward incrementally. Pencil Frenzy for 4 players in the studio as another few Crimson minefields are drawn up. At one point I did something I don't believe I've done before - used the calculator in my watch to figure out my part. Yes: it's math rock! Pat mentioned this last Thursday: he hadn't really believed that was true of Crimson until now. Actually, it's arithmetical, but that's what happens if you have the two guitarists in different meters and the rhythm section independent of both. Trey, Pat & I discussed whether, if we were Indian tabla players, our facility at different meters would be better established at the age of three. Pat figured nine.
Small excitements: I've begun fine tuning programmes in the VG8 and TC G-Force. My concerns to date have been more writing and playing. Now, customised sounds are needed for the music to properly speak. The prime difficulty is how to play fast, clearly articulated lines with both clarity & stonk.
Tuesday 16th. November, 1999
Then to the Crimson blues song. Ade went off for a Words Frenzy and a Single Trio addressed finer details of "Larks' V" and "Larks' IV". Now that the forms are beginning to settle, Pat is reaching out into realms of terror.
Wednesday 17th. November, 1999
14.37 Trey has suggested a different approach for today's work, which is timely and intelligent. We've reached the point where it's not the best use of our time to be together for 4-6 hours playing as a quartet. Our energy is best invested in working as individuals and duos, once we have played our "repertoire" for the day and moved it incrementally forward.
For my part, I have reached another impasse point. I don't have enough time or energy to continue writing for new pieces, plus fine tuning current pieces, while being an adequate guitarist. The weekend was not downtime for me and I need some tasty new impressions to clear my head. The position is the same with the others.
When we run the "repertoire" it becomes apparent immediately that homework has been taking place ("woodshedding" in American). Each increment represents attention, time, physical - mental - emotional energies, and all of this/these then become available to the other guys in the Team. It's remarkable to experience this: the work of Pat / Adrian Trey gives me additional strength to keep going.
15.34 That was the least fun I've had since arriving in Nashville: alone in the studio playing the guitar part to "Larks' V" onto ADAT, click at 138 and almost continuous semi-quavers. The loneliest lonely I am able to presently imagine.
The guitar playing was, may I say, not good. This is one of my most vulnerable, weakest days of the process so far and, to be presented with the challenge of my most difficult part, and alone, at the lowest time of my bio-day is, well, part of life's rich tapestry.
Thursday 18th. November, 1999
19.46 Yesterday-today was a turning point. Through one more Great Divide and onwards. Each of the steps / stages of a process have their own Great Divide, and each is experientially the same: too far from the beginning to go back & too far from the end to go forward. Ouch.
Yesterday's painful "Larks' V" guitar playing to click, initiated by Pat & Trey, worked very well as an MO. They came in this morning at 11.00 and proposed that we adopt this way of working, and create templates of all the pieces. This determines the form. Then, we may listen & fine tune the parts. If the recording is successful, we have begun recording the album. If not, then we are refining form & arrangements. The full team playing the repertoire, repeatedly, has served its use and is now counter productive. It exhausts us, and doesn't allow much fine tuning.
Conventionally, at this point Crimson would go on the road for 3-6 weeks to develop the written material to its next level, and then record the album. Precedents: "ITCOTCK", "Islands", "Larks'", "Starless", "Discipline", "THRAK". In this moment, we are using the studio to take the material further.
From one point of view, this Crimson is a new group. From another point of view, the musicians are familiar with each other's playing and the repertoire has been in process of construKction for around 3 years. I know that, after several months of live performance, the music will acquire a patina and develop a greater character than is possible now. But the players & music are sufficiently advanced in their processes that this work is honourable, at the least.
Friday 19th. November, 1999
Trey's bass end is vibrating through the wall which separates Fripp Cellars from the studio control room. He is overdubbing to "Light". Rhythm Buddy Pat is in the studio with him, currently shouting out counting cues to tape. Adrian is upstairs Frenzying to a CD of the unapologetic stonker, referred to in yesterday's diary, which Bill has just burnt for him.
The "guitars unhinged" part of "The ConstruKction Of Light" is now vibrating through the wall. I appreciate the feelings of Crim enthusiasts who sense a loss that Bill & Tony are not presently Crimsonising the psyches of aberrant, earnest males. B&T are a rhythm section of 18 years' experience and friendship. Neither player, nor the duo, can be replaced or duplicated by any other. For example, you don't get better than Tony Levin - you just get different. But similarly, Rhythm Buddies Pat & Trey are quite themselves, quite their own people & duo, and able to hold their own with anyone. They don't "replace" Bill & Tony, but Bill & Tony don't "replace" P&T. And both are, recognisably, rhythm sections of King Crimson.
King Crimson is a remarkable creature, and a power zone, which confers opportunities upon its players which, very probably, they wouldn't find in many other groups. But the demands & obligations it exerts in return are hard to bear. I guess that's why most former Crimson players really enjoyed being in the band, after they left. But that, as we know, is too late.
I have never worked with a more professional drummer than Pat, nor one more conscientious and hardworking. He sets standards. And Trey has not yet been recognised for the talent he is. The next Crim outing will present a new team that will find its own support. Generally, we like who & what we see & hear first (no-one bettered Sean Connery, for example, although Pierce Brosnan is close. And his birthday is May 16th.). A new generation of Crim listeners (once more, all earnest & male) coming with open ears won't be making comparisons.
They've just had me back to give a view on the part they are creating for the terrifying 15/8 in "Larks' V". Beast! Beast! I say. Pat has cleverly removed the emphasis from bass drum & snare - Big Two of the drummer's Big Three - and replaced the instrumentation with lighter percussion. So, there is all the forward motion & drive required but not a low weight to press down on a lonely guitarist. Trey is snapping, ducking & diving through all of this.
Sunday 21st. November, 1999
Trey has popped in for a break & to get some fruit bars for the studio, and continued the conversation. "Wait until you hear "Larks' V" says Trey. They are fine tuning and tweaking the sounds in detail, like Pat's new bass drum.
This is the beauty of electronic drums, I say, aware that a whole heap of animosity is waiting to focus on me for this. "That's what guys did in the '80s", says Trey. "They triggered samples". So you had acoustic drums triggering electronic samples, while purporting visually to be acoustic.
I remember a comparable debate raging when I was a young guitarist - how could you amplify a classical guitar? Heresy! Debasing the fine qualities of those sacred overtones & delicate timbres!
Well, how - you either put a microphone in front of it or used a bug of some kind on the body.
Well, why - so you could hear it.
An instrument designed for the chamber is not naturally suited for (eg) the Winter Gardens, Bournemouth or Wimborne Minster, accompanied by the Bournemouth Sinfonietta. Please don't try to persuade me of the classical guitar's sacred overtones when they are struggling to be heard in front of 12 string instruments in a "support" role. The face of that guitarist, mixing despair and hopelessness, as strained and occasionally audible notes gallantly, pitifully attempted to present themselves to the ears of the audience, is case enough for me. And I remember his face well.
Back to Crim: neither Trey nor Pat are really part of the convention / tradition of Crim rhythm sections, certainly in terms of their own working backgrounds. Yet the Crim RT archetype is expressing itself directly through them in their way of working. This is a strange event, to see & hear a strategy / approach from the beginning years of KC reappearing in a more developed and sophisticated fashion, seemingly of its own volition.
Monday 22nd. November, 1999
18.23 Pat, Trey & Bill are consuming their brought-in groceries so they may keep working without interrupting the flow. Ade & I have been choogling through a pair of Gorilla amplifiers on some new ideas for LV.
Wednesday 24th. November, 1999
13.34 The rhinoceros objets are set to shaking for yet another day. Currently, the wall is no barrier at all to the flying 15/16 terror of the lonely guitarist, "accompanied" (read squashed flat to the floor by 3 Big, Loud and Powerful Other Guys) in the section I've been dreading. Trey produced & Ken engineered me for a few passes which they are comping together.
My morning practising began with the LIV parts to be played. Then, I remembered my own good advice to Crafties: don't practice pieces you'll be playing later. This has the effect of dulling & blunting the performance when the playing is for real. So, practice something else which addresses the same concerns. My main concern was calisthenic, so I turned to the lonely guitarist's terror of LV (yet to be recorded) instead. This drew me along into further pencil frenzy on the current end section of "Larks' V"
The first takes were warming up. Then, I leant into it. Looking over the guitarist's shoulder, as I do from time to time, I noticed that this was more than a metaphor: the body physically leant forward a little, and the playing reflected this: phrases got pushed slightly ahead of the beat, felt a little edgier, even a little unhinged. In other words, the notes were performed rather than played, the difference between accuracy and music.
Monday 29th. November, 1999
We are returned from Loco Lupe's and the Monster Margarita for a listen-through to our current state of being. Today focused on "Larks' V" - beginning and ending - with offsets, harmonies, triple offsets and lots of counting. Then, we began addressing the architecture of "Seizure".
Wednesday 1st. December, 1999
Terror! Terror! It's time for the guitarist to deliver those nasty, cruel, lonely lines on "Larks' V". This is the piece which was referred to by the F word, at the beginning of this recording process. There is more extended exposure for me on this than "Larks' IV". Trey & Ken are comping the F parts prior to my return for the 15/16 running lines and the sections known as Fairy Fingers.
A wonderful exchange from last night and "ProzaKc Blues" when your diarist as guitarist was torn between 2 times and 3 players, pitifully attempting to sync with someone, anyone:
RF: If I listen to you guys it puts me off, and if I don't I go wrong.
TG: That's tough.
Adrian came down at the beginning of our working day to beg time for his Word Frenzy - he called it "flurry". Which is why, instead of looking at the architecture of "Seizure" your diarist was sent to work.
A small report: my back and legs have not given me any trouble for 2 weeks. Gradually the tendon in the left leg loosened up, although striking at strange and surprising times.
The 15/16 lines wait my beginning, fresh tomorrow day, but the rest is nailed. Pat is overdubbing but Adrian, who both walked in during mid-Mastelotto beastliness, was unable to figure which piece Pat was overdubbing. Actually, Pat is preparing the Rhythm Buddies' part for the 15/16 tomorrow. Now savage shards of flying industrial-enhanced drums are powering out from the garage where BPM are tweaking the drum sonics on "Larks' IV".
Thursday 2nd. December, 1999
Trey has directed me through the 15/16 lines in "Larks' V" with Ken the Hero in attendance. This is terrifying stuff for me, right on the edge of what is possible. Semi-quavers at 138 bpm, all picked, mostly continuous, written & delineated, awkward time signature, with a rhythm section hurtling along with a linked but separate agenda. If the guitar setting is clear, the articulation is stronger but the sound on the higher strings is only fit for Nashville's limp-rock stations. If the sound is tougher, more driven & distorted, the articulation on the bottom strings loses its definition. So, this morning, we began by choosing a sound. Then, hurtling into action.
The first pass comes from the body. Mainly, without thought. This is ideal: thinking is not only too slow, it interrupts the motor actions of the body. A trained, responsive physical instrument in motion is a joy to be inside. There are moments when, as if in surprise, I look out at my fingers, trained over many years, almost independent, dancing effortlessly across the strings. On the inside of the hands is vitality, lightness. On the outside, only the slightest glancing contact with the strings. This is calisthenic: where physical motion and beauty coincide, dancing in joy. If only the rest of this body, hewn from Dorset & Welsh primary genes, were able to know the delight which is possible for the small constituency of their digits.
But to take this dance along with the guitar, and then plug it in: everything changes. Schizophonia: the sound emerges from a distant location. Or, claustrophobia: the sound is sitting on my head. My relationship with these dancing fingers is now also a relationship with sound, and mostly this sound appears at a distance from me. This sound is part of a sonic matrix which involves other players. Each sound I produce bears & carries my intention; the sounds the other players produce mirror, reflect & bear their intentions. So, do we share the same aim/s? Do we have the same capacity/ies in performance? Assuming we share adequacy, sufficiency & necessity in our mutual executant functions, may we transform these flurries & eruptions of sound into music? More accurately, will music envelope us within its benevolence and transform us, in that moment, from players to musicians?
Even with all this, assumed and "intact", walk into a performance space, step back and sense the entrance of the audience. Or more accurately, the crowd. The people on stage may not be a group, but there is a reasonable assumption from the house that they have practised sufficiently to work together. May the players assume that the audience have undergone a comparable training in individual and group listening? What performance conventions hold in this place? Is this an event mediated by commerce? Does this confer on the audience "consumer rights"? Does this give the "consumers" the right to behave in any fashion they wish, even where this runs directly counter to the performance requests of the performer/s?
And now, given all of this, crank up the volume of a huge pa system, and play your 15/16. Has anything changed?
Anyone interested in musical education may note at this point that an education which addresses learning an instrument is not an education which is directed towards performing. An education which is directed towards performing is no preparation for a performance which takes place within an avowedly commercial culture. If the performer has no audience, their hunger, poor housing & old clothing accompanies a lack of recognition. Without "recognition" - an affirming acknowledgement that our work meets some necessity in our community / society - our work is not quite "real". And with recognition, we encounter a raft of demands and expections which define and limit our work.
The extent of our capacity in all of this equates to the power we have of directing our attention. More accurately, the division of attention. For example, "without thought" does not mean "without thinking". "Without thought" means, without the surface flutterings of everyday mind. Thinking is an exceptional and surprisingly rare occurrence. It requires that our cerebrating is directed towards a specific, whether we are interested in that specific or not. And thinking is only one part of our functioning.
But what to do when all the irrelevancies of the mundane mind move associatively along and offer to upset the forward motion of those (for example) flying fingers? Remember "Zen And The Art Of Archery"? This is a metaphor for living. The aim is to hit the mark. Surely this is simple: the arrow has nowhere else to go. So, what's the problem? Why do our "arrows" fly everywhere but into the centre of the target, the bull's eye?
Then, imagine a Zen master archer in front of the target with 2,000 people all shouting encouragement. All of us expect he'll hit the mark - after all, he's a master archer isn't he? Hang on, I'll take a photo while he's shooting. It won't disturb him - he's a master. And if it does, well, I bought a ticket to this shooting range with my hard-earned pay and that gives me rights. It doesn't matter if he's explicitly rejected them. And anyway, it's his job and if he doesn't like it he should do something else. He's not even entertaining - he doesn't jump about or put on a show. Hey dude! Just holding that bow and arrow doesn't quite do it! And (if I stopped to verbalise this) why shouldn't he absorb my negative projections & hostilities? In my culture, everyone behaves without courtesy in public. He should lighten up or ship out. And look! He missed the target. Putz. He didn't even give me an autograph or have a photo with me. I won't bother seeing him again - he doesn't deserve me.
So, what might it be like for anyone of lesser degree?
"Larks' V" tickled & vibrated to the next stage, with templates for the beginning and end sections. Whipcords snapped as I climbed the stairs to invite Adrian down for some guitar soloing. Adrian appeared in response to my Crim honking sounds:
AB: I've been reading the latest Elephant Talk. What a turd that is! What a turd! Those people are really mad.
RF: May I quote you on that?
AB: What a turd!
RF: You know you shouldn't read that.
AB: I haven't read it for weeks.
So, Ade is soloing on "Larks' IV" rather than "ProzaKc Blues".
This morning at the beginning of my Pencil Frenzy, I wrote the title "Larks' VI" at the top of the page and then a main phrase in the next stage of this continuing saga.
Ade has squirlted & spooged 4 takes and we'll listen to that later. Now he's on to "ProzaKc".
Studio recording is constructing the architecture. Live performance is living in the house and inviting friends round. Or opening the house to the public.
Saturday 4th. December, 1999
Adrian has tightened his part beneath The Broken Record. Another Crim technical term, meaningless outside the team but of usefulness & silliness within. It refers to a repeated RF figure in 6/16 held for 36 bars while Adrian creeps up underneath. The Rhythm Buddies are appearing to slow down their accents beneath that.
Wednesday 8th. December, 1999
So, then off to Loco Lupe's to celebrate the birthday of Mrs. Elvis Goodbread with her and Graham Elvis. The power of the Monster Margarita fluctuates from visit to visit. Tonight's had less kick than on some occasions, which was fine with me. Then back to Basement Belew and personal practising of "Larks' V".
Thursday 9th. December, 1999
Trey has found his approach for the Fairy Fingers sections in "Larks' V". This is not the approach we had expected (so much for expectation), but returns to his original idea from the ProjeKct Two rehearsals in late 1997. This was before Adrian sat at the V-Drums and we were a guitar trio. Those rehearsals were key to the present Crim recordings and the original sketches for "ConstruKtion Of Light"
Saturday 11th. December, 1999
The Rhythm Buddies are working in the garage with Bill, editing and fine tuning "Larks' V". Adrian & I have been overdubbing the Chromatic Contrary Motion sections, and the Power Riffs. Adrian is now working on the verse sections, which require him rewriting a guitar programme.
Adrian, despite heroic overdubbing, wasn't able to nail a solo which rendered him hazourdous without a Stadium Buddy. So, he'll throw one away another day. BPM & Trey are doing wonderful, terrible things to the end of "Larks' V" in the garage. The Stadium Buddy measurement chart, available to all group members to place an order of appropriate dimension, is on display in the studio. An additional size - the Hooter Johnson - has been added to the list.
The garage is closing down for the evening. The guys have had enough.
Tuesday 14th. December, 1999
Beast! Beast! On my right ear, "Larks' Tongues In Aspic, Part IV". On my left ear, "Larks' Tongues In Aspic, Part V". Returning from a bout of feeding & shopping, I went into the control room to check in. Ken is rough-mixing "Larks' IV" with Pat sitting behind. Yow! Each section moves forwards and each time I thought - "Enough already!". Then, next section, the ratchet turns once again. Like, power chording in 11/8 from the 3 guitarists and Pat puts a triple fill through the middle of it. Then, triple offsets on the main theme & a descending bridge. Peace at last? Right. An outbreak of guitar in 15/8 at 138 splattering over the top of a rhythm section there to support the guitarist by stomping all over him! I left the room, unable to handle more Crim mayem. Until Trey said - "You wanna hear it?". So, into the garage for the Fairy Fingers on "Larks' V".
Trey has found what was needed here.
TG: What d'you think?.
RF: It's on the edge. I don't know what it's on the edge of, but I know it's on the edge of it. And it's ambiguous. And definite. Definitely ambiguous.
BM: Is that a good thing?
RF: If you like ambiguity.
Whoaaaaaaaaaaaaa! We've listened to our first almost-complete aural through-view of the album (missing "Larks' V"). Not for the squeamish. Nor for wives. Not for friends of Jeff Carlyle. And (without ambiguity) not for anyone who doesn't already know the plot.
For interrogation. For stilling neighbours. For clearing the sinuses. For demonstrating what 30 years of strangeness can amount to, when practised.
Crimson records usually make some attempt to engage the audience. This one makes none. It is utterly without compromise. Most people will hate it. No radio station will play it. For the record to make sense, most people will have to see/hear Crimson live. And who cares? By now, we know how this works: Crimson plays it, nearly everyone hates it, eventually someone explains it to those who hate it, and they still don't get it or care to get it. Then, Crimson takes a break for between 3-10 years, retrospectives appear in the press, the "legendary" group returns to more or less the same level of dislike, antipathy, lack of interest and devotion as before.
Robert Christgau will not like this record.
Wednesday 15th. December, 1999
Mass squerning on either side of my head. It's not RVW but Crim. "Light" on my right and "Larks' V" on my left.
Thursday 16th. December, 1999
Conversation between Pat, Adrian & Robert while looking at the white board with titles, times & running order of the album.
PM (to RF): How fixed are you on the title of "Larks' V"?
RF: Well, it shares lineage with "Fracture".
PM: That's what I think. And Ken thought you were playing "Fracture" when he heard you practising.
RF kneels to board, rubs out "Larks' V" and writes "Fractured" in its place. AB, RF & PM look at board, consider how it looks and its implications, and agree on the new title. RF runs to find Trey to ask his approval, but he's just driven off to pack.
Bill has been remixing (what was) "Larks' V" and this has significantly uncovered / clarified its character. So, as the piece's identity has become clearer, we have renamed it prior to its full birthing and moving out into the world.