A Double harmonic dream in the 7th mode of Double Harmonic the rather difficult : Locrian bb3 bb7 mode in Db. The composition is accented with 2 on beat and 2 againnst the beat rock drum patterns and 2 fills , both against the beat. As this is an odd numbered dream of the 7 part song cycle, the mood is lighter to benevalent , this is mostly thought a melody driven through 2 chorused muted strats via the FLEX vst by image-line, these are interwoven at times with a FLEX driven Steinway that does a run of relavtive Triads that of course complents the muted strats since we are locked into the same scale--the triads are all makable by that same scale; Locrian bb3 bb7 in Db....

A short edit of original I recently did

MTC

Nearly 30 years ago, Robert Miles shook the Trance world foundation with a track that pushed the genre into the next Milliana by not only ushering in Melodic Trance, but provided the groundwork for

Progressive, Dream, etc. Trance. "Children" was inspired by photos of Children from former Yugoslavia and the erupting war that was tearing that region into a horror that spread over a decade as the world watched in disbelieve that we had not evolved at all from lessons learned from WWII (The Great Patriotic War--once again "total war" and genocide raised its ghastly head. These pictures disturbed him so deeply he created the first "Children"--the club world was never the same again but had its soul raised to a new level as club goers felt new empathy through this word-less and highly emotionally charged song.... Sadly, Robert Miles lost his battle with Cancer in 2017, nearly 20 year after "Children" hit its zenith, selling over 5 Millon copies worldwide. Cut to just about 20 years ago, i took my first stab at bringing my vision of this track to life, I had listened to 'Dreamland' for many years and every version of "children" I could find to try and find the emotion epi-center of this track I could feel was there--sadly I did not know at the time what this track was about... but could feel there was a very deep and epic core to it. So, I brought my version to bear with what I hoped had a glimpse of Mile's genius, now 20 years later, I know the story and origin of the song which is even more bittersweet with us being in the aftermath of Mile's death. Now I bring to bear an even deeper version--I hope--that brings "Children" and hopefully even some of Miles to bear. I have opted to fully embrace something that was never in any of the original art--the iconography and imagery of that dark conflict. The song cover bears the long-gone Yugoslavia flag and images to pay respect to those Children and who they have become...

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5/1 1st Edit: Finally found missing piano lines from the midi and re-created them in new midi;

added 3 piano lines, and original fretless bass, original sync sweeps

Polished new fx found at start, middle, and end of this track , fx show what a vocoder can be used for if it is in the Master track and the entire track set is the "carrier"

fx stack (all in master and automated to quick peaks over time and all started by explosion sample which feathers into fx stack) dbblue glitch with hvy shuffle , love filter, image line's Vocodex, NIs "Driver"

The purpose of these fx are twofold: one, in the beginning they represent Robert Miles initially being impacted by the pictures--his mind, heart, and soul are

being ripped by these images, his thoughts come in intermittent fits and starts as he feels emotions so deep that music rises to stem the flow--having been here many times myself, as music creation can be a great coping mechanism. Even though the initial musical resonance can result in many themes, once you to try and bring those themes to composition, you start to question them and the whole experience, you know you should not force any of this process and as your mind replays what started all this more feelings as music manifest and the original themes began to interplay in new ways. Despite this, somewhere around the middle of the composition cycle things can grind to a halt, the progress of the process is far from constant. Lastly the fx at the end of the song--even though Miles was extremely successful with this song, upon the threshold of "Children" becoming know and in the public eye/ear he had a flood of doubt, as not only had there never been a track like this in with a slower than what was current in tempo, that had a piano as lead, that had epic highly emotionally charged themes but let alone in a club. Thankfully he followed his heart and opened his DJ set with it that night

This dream with its heroic themes explores the 5th mode of Double Harmonic Major--Asian, in B Flat

5/30: brought volume of this track more in line with the other songs on the album

This time we explore the 6th mode of Double Harmonic Magor--Ionian Augmented Sharp 2. The track is built this scale and various Triads (mostly in the strings, and "choir. Note the "Dream" number has little to do with the modes, it mearly reflected the order which I takes them on and these two simples rules; numbering down from 7 to 1, and all odd number Dreams are more "Light driven" and the even numbers are more "Dark driven' --next up is: "Dream No. 5"

The dreams continue, this one explores G Ultraphrygian.... MTC

This is first in a series of songs that will explore more "exotic" scales and modes.

The series will be built around a series of modes to E double Harmonic Major. The series will also be futher examples of "Post Electronica". This track has strong Jazz elements in the Drums which are made of Jazz patterns that have been massaged into Breakbeat style, but the kit is still my Deep Ocean jazz kit I have used in other tracks. likre other series songs of mine, each will be numbered, with even numbers being more dark and odd numbers being more

light--7 is the number of God while 6 is the number of Satan...Let's start with Number 6...

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1977 held two great thigs for me: Star Wars and my "Discovery" of Jeff Lynn's: ELO (Electric Light Orchestra)--the begining of what would a life long love (Obsession? ) of Progressivfe Rock. I purposefully avoided any Lyrics--even though Mr Blue Sky was the very first time I ever heard Vocoder--as I feel that I want an 'homage to their work and treading into Mr Lynn's amazing lyrics and their presentation through this beautiful, amazing music would be something I don't want, and in my mind would disrespect.. My Interpetation is in no way meant to rival the original, please search for "Concerto For A Rainy Day" in Bing or Google and you can hear their's in a few seconds.. please do treat yourself to that experience. The Music in this is primarily ELO's , my "Diva" in this piece is the TB 303 line(s) --those parts were built around mostly the String lines, but I feel the 303 adds a lot of texture to the piece and is something ELO might have added themselves if it had existed then...

MTC , still a bit a WIP

4/4: 1st pass, Cleaned a lot of the guitar work, I didn't quite mean to have so much of the piano work underscored with dist guitar, so we will see if that stays...