"Skarv" means "shards"; the composer's name should link through to their website. It's a very nice piece: rewarding to play, and fun to speculate about. The technique required is beyond me for now, but with Page 1 at least I had the luxury of multiple trials. I stopped at what felt like the point of diminishing return. For Pages 2 & 3, genuine expertise is required. Again, I tried, and I'm happy to add quality versions if people want to supply the sound files. It might add another dimension of multiplicity to the piece.Here's one version by a real guitarist
- As far as interpretation goes - being guided by the title - I see two main paths. Simplest perhaps is that the piece proceeds backward in time from the shards on page 1 through a linked/linking process on page 2 to the final/original artifact on page 3.
- Alternatively, we might see 3 different kinds of shards - the tiny, competely random fragments that take weeks to track down & clean up. Then, those which seem to have a connection, to have fractured into a pattern, despite the improbability. There are lots of internal orderings on page 2 that could support that. Finally, the two largest fragments, the ones that make you wonder if with patience & glue you could somehow reconstruct the whole thing; or salvage a couple of pieces as a remembrance, or even a thing-in-itelf.
- I will find other less programmatic views in time, I suspect
ReflectionsI always tell my students about the value of reflection in learning, so ... eat your own cooking
- This project was also the first time I've recorded myself playing. That's pretty horrifying, from a musical POV, but I sorted out my hardware (a Tascam 05) which had 8 yr-old firmware on it, meaning the online manuals didn't match the screens/menus. Now I know how to download & install Tascam f/w. To be fair to the makers, it's super simple. I also see the problem of ambient sound in a very not-theoretical way. I'm not sure what my long term response to that will be. I've finally spent a ittle bit of time getting "fluent" in the basics of Audacity. Like the CSS, I've mainly learned enough to encourage me to learn & use it more, but for sure the macro facility was an eye-opener. Also, I can see that recording myself is potentially a very motivating practice tool, and useful for prioritising the impact of problems.
- Musically - this was a musical project, after all - I learned a lot. Recognition of sight-reading patterns that can be solved by Vth position. What is a Bartok pizz.? First piece played using the extreme left of the strings. First 'classical' piece with 1/4 tones. Realisation that the aleatoric element dramatically increases the technical problems, as there are few finger sequences. Notation. Interpretation. Audience communication - those silences need to be created/bounded for them to be understood, by a listener, as scored. (But do they need to be understood?) What are the boundaries of improvisation/interpretation? The need to find time to focus on mechanics: tone; timing; dynamics; planting (There was more - I should've kept a journal)
- Educationally, another vindication of Task-Based-Learning. Since I am completely biased in favour of TBL, this should not be a surprise, but really, look at how much came out of a very simple challenge: "Create a web page in response to a piece of music". And absolutely all of what I learned is useful. But, undeniably the process generates a tremendous amount of frustration, which has to be (learned to be) managed. If you build a class based around TBL, counselling that frustration is probably the biggest challenge. A truism, perhaps. Even drill can be construed as TBL.
- Looking forward, time to start thinking about cellular automata & composition. As well as more practise. Why isn't there more time?