So now I can finally talk about this... now that this track has already exceeded 100 plays, nothing to do with my ego, just stating that something worked, and what made it work, and how I got to work, was something that drove me quite nuts on the night shift from Monday to Tuesday in the Studio working on this, as you might guess looking on my harmonic notes I added to Henry Purcell’s original notation.

Harmonics is something I’m not particularly proud of having somewhat dealt with in my musical history ‘cos I find all those jazz nerds real difficult that base their ego on that (and just end up producing really tiring muzak).

OTOH, with electronic music, samples sometimes just don’t cut it. This is a good example. Henry’s composition is a true masterpiece. It was such a pleasure and honour to get my head around something as clear and precise as this, authored 300 years ago. Every single tone has its specific meaning and place, nothing is too much or redundant, its all so extremely dense and compact, this is a true masterpiece, it can only be this way and no other way.

However, with modern music being somewhat loop- or repetition-oriented, when you come to an end of a loop, the beginning of the loop should appear natural to you again. Henry has 15 bars, expecting a pause (and no looping) after his March. Since this an odd number, it makes it difficult for a modern approach (and also, why you can’t just take the Clockwork Orange Version as a basis of a new electronic music remix, which I guess is the reason why I apparently haven’t heard this yet).

After careful consideration and an in-depth understanding of this work, I decided to omit 3 bars from bar 11 and a half to bar 14 and a half, making this a handy 12 bar harmonic loop for modern production, but needed to re-compose things at the end to make it work, so the ending is now purely BELP and not Purcell, inspired by and somewhat in the aesthetics of his original end part. This why I wrote “Sorry Henry...” when I originally posted the track.