Le Rêve Restauré (Dream Restored)
TRACK DATA
Composition tool: MuseScore 4, Studio One 6.5 Professional
Recording tool (DAW): Studio One 6.5 Professional
Number of tracks: 32
Sound source: Musescore/MSFont, Presence XT, Maitai (All built-in sound sources of Studio One)
Composition and recording period: Apr 20 2024 - May 1 2024, Sep 13
Main tonality: (Described in each section)
Main scale: (Described in each section)
Main time signature: (Described in each section)
Main tempo: 80 - 87 beats per minute
Like a conclusion chapter in the series
(TM writes:)
This piece, "Le Rêve Restauré (Dream Restored)", is the final (eighth) work for the project called "Le Cube Dans Mon Rêve (The Cube In My Dream)."
If you haven't read it, I recommend you read through it, and then I'm sure you'll have more fun to listen to this track.
This whole series was inspired by CT's drawings, applied Cubism and developed upon Maurice Ravel's methods in a way that was, at least in my view, quite dramatic. Yet, none of the previous seven works directly themed after CT's drawings. The catalyst was hearing her story and intending to create something akin to theatre music that corresponded with it. This also acts as a critique of the uniformity in the structure of today's music.
I titled this piece "Dream Restored" in French just after composition; I chose "Restored" as a symbol of CT's story and combined it with "Dream" from the series title. As the title implies, this piece is positioned as a representative track of the album.
Echoing Igor Stravinsky's argument that interpretations of his own music are meaningless or Dadaism's similar claims, FMT's usual productions tend to embrace a sort of anti-Romanticism. But this track aligns with CT's story, and in that sense, it adopts a more or less Romantic concept. Section 3, which I will explain in detail below, might particularly employ a Romantic approach to some extent.
Initially, I was groping in the dark, intent on utilising a Cubist approach to craft a grand finale. I wanted to incorporate ideas from Purism, which followed Cubism, and Symbolism, which leads to abstraction. At the same time, however, I aimed to avoid an overly ornate style.
I created numerous phrases, yet none felt quite “right.” But, by shaping the music to align with CT's story in a theatrical manner, it became crystal clear which phrases were necessary and how they should be connected. Thus, this piece is truly dedicated to CT.
Purism, simply put, is a movement founded by Amédée Ozenfant and Charles Edouard Jeanneret (Le Corbusier), which evolved from and critiqued Cubism. From the perspective of 2024, while the criticisms are a little bit too hard for me to fully understand, the underlying message is clear. It seems to suggest a call for more objectivity and clarity, making art more accessible and reproducible for anyone.
World War I, being the first modern mechanized war, had a profound impact on subsequent artistic movements, shifting the focus towards functional beauty and rationalism, and steering society towards mass production and consumption, ultimately influencing the emergence of Pop Art. FMT previously released a series of works titled "Symphony 1: World War I." Historically, this symphony fits between Cube 6 and this track in the timeline.
Composition: Like theatre music along CT's story
(TM continues:)
Henceforth, I thought I should try Music Purism this time, which doesn't seem to exist, but it may be close to ambient music if it pursues functional beauty and eliminates decorations.
In fact, this would overlap somewhat with the previous album, Placid Wanderings. However, I thought the difference would lie in the methodology of Music Cubism and the application of Maurice Ravel's structures. I started by creating numerous phrases, but at first, I wasn’t sure how to combine them.
As shown below, the piece is structured like a patchwork, as if a different song starts in each section. This, of course, symbolises the key visual, CT's Le Temps Et Le Regard (Time and Gaze), being broken and restored.
I haven't heard much music outside of FMT that integrates such contrasting elements in this way. Perhaps that’s why, even though it’s about the same length as our usual five-minute pieces, it feels like it lasts much shorter. Just as Einstein’s theory of relativity on space and time is closely related to Cubism, which emerged around the same period, there seems to be an accidental connection here as well.
Not just this piece, but the entire series felt like it passed by in a flash. I believe we managed to delve deeply into movements from over a century ago and explore new forms of expression from them. At the same time, it feels like a five-minute trailer for a film starring Anne Hathaway. In any case, I learned a lot through this process.
Incidentally, in Cube 6, I applied Maurice Ravel's methods, but I intentionally avoided using the beautiful atmosphere characteristic of musical Impressionism. Still, I wanted to incorporate some elements of Impressionism at some point, and I was able to do so here. That, too, contributes to the sense of resolution in this piece.
At the bottom of this page, I'll give you some explanations for each section of this work.
Tone Creation and Mixing
(TI writes:)
As with the rest of the CUBE series, this track was written by TM, and the sounds used in MuseScore were exported directly to a WAV file and mixed together.
The only sounds added here are some bell-type sounds created with a synth, and the distorted sitar and synth pad sounds with a hazy distortion before the ending.
The strings before the ending were also broken down and replaced with instruments that matched their pitches.
The mix is more about adjusting the sense of depth with the compressor settings than adjusting the volume balance with the faders.
The number of tracks is 32 and the parts are simple, with four parts and strings except for the bass and rhythm parts, but the sound ranges of the parts are so close that if the sounds are played normally, they will be jumbled together, but if the fader is used alone, the sounds will simply be small and loud, with no sense of depth, and only the loud sounds will stand out, So, the EQ is used to leave the bandwidth that I want to sound in each part and cut the other bandwidths, and a compressor is used to adjust the sense of depth in the front and rear.
In this track, there are many sounds with a strong attack, such as guitars, bells and percussion, so it was difficult to adjust the compressor's attack and release time. If the timing of the compressor attack was set too fast, the sound would become weak and backwards, but if it was set too fast, it would be difficult to get a sense of pitch and phrase, and if it was set too slow, the sound would end before the compressor could operate, so the timing was set in relation to the phrase and other sounds. (Conversely, for long tones, the attack time should be the fastest timing, and if the release is also slow, it will drop back nicely).
CT: On ‘Le Rêve Restauré (Dream Restored)’ and for The FURICO Music Team
(CT writes:)
‘Le Rêve Restauré (Dream Restored)’ is the last track of ‘Le Cube Dans Mon Rêve (The Cube In My Dream)’. It is the last piece that I am collaborating with The FURICO Music Team on. It is the end but it is also the beginning.
‘Le Rêve Restauré’ makes me very emotional. It means a lot to me and is a very personal piece for me. I feel kindness and deep understanding. The music is very sensitive. I feel sadness, but also positiveness. The strength is there. There is hope throughout the music.
The gaze of The FURICO Music Team on my torn and restored drawing, which became ‘Temp et Regard (Time and Gaze)’, a work of coincidence and destiny, opened new doors through which I could create again.
I am most grateful to The FURICO Music Team for letting me collaborate. They gave me the amazing opportunity to be part of their creations and to create the key visuals of ‘Le Cube Dans Mon Rêve’. This collaboration has opened my eyes again to creativity.
The journey with The FURICO Music Team comes to an end and its door is closing (although I hope the door is not completely closed), but because of the collaboration with The FURICO Music Team, my other creative journey has begun. Other doors are opening.
Thank you so much, TM and TI. I will not forget this experience creating with you. It was a great honor. I am still a little insecure but with confidence which I have gained from this experience, I will open new doors.
All my best
CT
Sections: Symbolism and Purism - "a small innovation for me"
(TM writes:)
1. "Sense, Intuition, Creativity, Naive Drawing" Section
Main tonality: (ambiguously) C# major
Main scale: Almost harmonic major scale on C#
Main time signature: 7-8
I shift the harmony (in my interpretation) from an American style to an impressionistic one midway through. Initially, perfect fifths, major sevenths, and major sixths are emphasised, which to me, creates an American sound often found in blues and hard rock. (However, it's not based on the blues scale.)
From there, it transitions in a Ravel-like manner. The root notes change, and similar to Cube 6, there is frequent use of major sevenths and major ninths. While not quite symbolic, this hints at CT's move to Paris.
Sections 3 and 5 follow a similar approach, incorporating the concept of Purism, reflecting a Post-Cubism style.
Although it occasionally sounds like there are irregular time signatures in 4/4, it's actually written entirely in 7/8. For most people, including myself, 4/4 is deeply ingrained, so when writing phrases, it's easy to unconsciously fall into 4/4 patterns. I tried to avoid that. The introduction was created based on a phrase originally written in 7/8, which is why, by chance, there are parts where it sounds like 4/4 but is actually 7/8.
2. "After 7 years; Dedicated, Cornered" Section
Main tonality: (ambiguously) close to C# minor
Main scale: None
Main time signature: 7-8
This is a development from Section 1, adapting a fast guitar 16th-note phrase from the American harmony in that section. It’s hard to describe—it’s not quite cutting nor arpeggio, but rather a sampling-like rapid phrase. The tonality is ambiguous and shifts even within the pattern, creating a contrast with the fast phrase that appears in the final section. In fact, the fast guitar phrase from Section 6 was created first, and this is a variation of that. I will explain this contrast further in Section 6.
Then she hits a dead end, feels suffocated, and is forced to stop.
I love ballet and have watched a lot of it, so I am very fond of these kinds of scene transitions. I was imagining a transition similar to those in Matthew Bourne’s Swan Lake. Of course, the style of the music is completely different from Tchaikovsky's.
3. "Over, Hurt, Miserable" Section
Main tonality: D major (later, D-flat, C, B)
Main scale: (Nearly) Ionian from D (later, D-flat, C, B)
Main time signature: 4-4
Starting from the initial note, there is a ninth interval, which is another application of Ravel's influence. The upper phrase descends from A to C#, then falls from A to B, drops an octave from A, and once again falls from A to B. This creates a completely downcast mood.
The lower part also draws a descending line. It begins on G, so it may not be obvious, but at the end of the two-bar pattern, it drops from D to A, conveying a calm sense of 'everything has ended.'
I generally don't like resolutions, so I usually avoid them, but here, I've hinted at a resolution to imply meaning. However, since it descends from G, it isn’t a typical resolution, which reflects a certain resistance on my part.
Furthermore, the phrase transposes down by a semitone three times, continuing to fall. Everything is descending.
As for the tone of the piece, the descending lines combined with simplicity and a steady pace convey a more empty, desolate, and severe psychological state. In this sense, as mentioned earlier, it is more or less Romantic in nature. This is not something FMT usually does, like Stravinsky (though there are exceptions).
Additionally, I have tried to eliminate as much ornamentation, complexity, and subjectivity as possible. One of Purism’s critiques of Cubism was that it was complex and based on the developer’s subjective view, and this piece reflects that. (Personally, I see Purism's critique as more of an evolution from Cubism.) In other words, my subjectivity as a composer is absent here. Well, if anything, there’s a sympathetic gaze that acknowledges "life has its moments like that," but that wasn’t something I intended to express.
4. "Restored, Precious, Self, Kintsugi" Section
Main tonality: Atonal
Main scale: Dodecatonic
Main time signature: 9-8 & 10-9
This is what I call the "Cézanne motif," which I originally created in Cube 1. It alludes to his characteristic of "changing the object because he cannot change himself," symbolising self-consistency and self-affirmation. This approach was inspired by and adapted from the symbolism found in painting.
Alternatively, as TI described the key visual Le Temps et Le Regard (Time and Gaze), I wanted to create a section reminiscent of kintsugi (the art of repairing broken pottery with gold).
Furthermore, atonality is often used to symbolise anxiety, fear, or madness typically in horror films, mystery films, and other dramas, but I find that tiresome. While that usage has its place, it's highly stereotypical and lacks diversity. I approached it differently. I wanted to evoke a sense of internal revolution, a feeling of surprise. It is not solely about anxiety or fear; in fact, it conveys more hope than anything else. Moreover, I have never come across a piece of music that uses atonality as a kind of climax within the composition.
As for the "Cézanne motif," it has been transformed to such an extent that few might recognise it. The time signature also alternates irregularly between 9/8 and 10/8. This represents a "reconstruction of time" and is another application of Cubism.
5. "Cats, Instagram" Section
Main tonality: G major
Main scale: Ionian from G, multiple 3-notes scales, and Ionian from D
Main time signature: 3-4
This section marks the beginning of a present that leads to the future. It has, in my view, the strongest scent of musical impressionism, but there is more to it than just that.
Like Section 3, this part strongly incorporates the principles of Purism as an extension of Music Cubism. Based on Purism, it eliminates ornamentation, simplifies, and deduces expression to a reproducible form. This is why this section makes frequent use of a simple three-note scale. Sections 5 and 6 share common progressions and phrases, but Section 6 is more developed and somewhat decorative, moving away from Purism.
While it is fundamentally in G major, overlapping parts with different three-note scales mix in a bit of the D major/Ionian scale. This is a geometric simplification of major sevenths and ninths, which Ravel often used, in a Cubism-to-Purism style. It conveys movements akin to those of a cat’s paws, cautiously bringing the work out bit by bit, as if lacking confidence.
For instance, there are touches reminiscent of our earlier piece "First Visit," which also has a strong minimalistic element. As I mentioned earlier, Purism developed from Cubism, which seems to connect it to pop art or indicate a deep association with Art Deco. This, in turn, links to the minimalism of the 1960s and 70s, suggesting how Cubism is directly connected to the present day.
In the world of music, minimalism and its earlier influences are often seen as disconnected, but I wanted to show their deep connections. When I first tried to create Purism-inspired music, the only things that came to mind were minimalist and ambient music. But that makes sense, as minimalism relates to Purism and thus acts as a bridge between Cubism and the present. To me, this is a significant point.
6. "Encouragements, Confidence, Brought back to life, Creation" Section
Main tonality: G major
Main scale: Ionian from G & Ionian from D
Main time signature: 3-4
This is an extension of Section 5, reflecting our hope for CT's future creations. Nothing has ended; rather, this is just the beginning—a form of encouragement from us. However, it’s calm and composed, without the hectic feeling found in Section 2. In Section 5, the tempo changed frequently, creating a sense of uncertainty, but here, the tempo remains almost steady throughout. This approach mirrors what I did in the previous piece, Cube 6, where a consistent tempo was used in contrast to the other Cubes. Similarly, this section contrasts with Section 5, just as the first and second halves of Cube 4 also presented a contrast.
Like CT's story, I, too, have experienced major setbacks, so I deeply relate to this. What I have realised is that even when creating in the same genre, the approach is entirely different when done without having faced setbacks compared to after experiencing them. That’s just how people are. This contrast is symbolised through the comparison with Section 2.
The time signature here is 3/4, but it doesn’t feel like a typical waltz, making it less obvious as triple meter. This effect is achieved because the guitar plays every two beats, creating a kind of hidden polyrhythm.
Incidentally, while this piece was intended to incorporate not only Purism but also elements of Symbolism, I found that it is surprisingly difficult to handle Symbolism in music.
It's not impossible to create expressions like "a cat walking slowly," but that’s something best left to classical composers, and strictly speaking, it’s more of a metaphor than true Symbolism. For example, if you try to create music that symbolises "freedom," "peace," or "love," it’s not impossible, but unless there are lyrics, the listener’s ability to interpret the symbolism accurately is far lower compared to visual arts. This is something that many composers have probably thought about.
(By the way, whenever I think of Symbolism, I am reminded of Gustave Moreau’s L'Apparition (The Apparition), which, in a way, symbolises (in the meta-level) how painting embodies Symbolism more clearly. It’s a bit complicated, though.)
However, what I discovered through creating this piece is that using "contrast to symbolise" can make the symbolism stand out more clearly. This was a bit of a surprise to me.
I also realised that this is essentially the same as the idea that "dichotomy can distort and oversimplify issues, making it dangerous." In other words, contrasting "busyness and stagnation" with "a creative future" makes both more distinct, but it also implies that nothing exists in between or outside of them. Another example would be how it’s easier to convey the idea by saying, "this piece was made with Symbolism and Purism," rather than saying, "it was not centred on Cubism but rather on Symbolism and Purism." The same applies to musical expression. It may seem obvious, but still.
I don’t see this as a problem, though. Human perception is fascinating -- in fact, I love Cognitive Science and psychology -- and maybe I was able to use it to my advantage in a positive way. In that sense, it felt like a small innovation for me, and that’s something I am happy about.
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