This fourth act of the Moods and Modes project was finalized during the Covid-19 pandemic lockdown, when traveling and exploring could happen only inside your mind.
The first three pieces are an imaginary escape through Spain, Scotland and Japan; while the last three are a journey inside our souls, between the need to change, the desire to chill and relax, the rebellion against our fears.
With this volume IV, Moods and Modes is not a solo project anymore, thanks to the musicians and friends that enriched this recording with the gift of their skills and some shards of their souls, something I will forever be grateful for.
The 6 instrumental pieces complete the journey through the modes of the C major scale, visiting E Phrygian, G Mixolydian, B Locrian, C major blues, A mixed minor.
If you like it, you can get it on Bandcamp!
Credits
Valentina Borgato - violin (on tracks 1, 3, 6), viola (on tracks 3,4,6)
Mattia Pecoraro - flute (on tracks 4,6)
Francesco Schibuola - piano (on track 4)
Massimiliano Salvan - recording engineer (on tracks 1, 3, 4, 6)
Duende: It’s a passional piece with a wink to some flamenco and habanera rhythms where a breathtaking solo violin part played by Valentina Borgato leads the way. The melody is in E Phrygian mode, with a “spanish tinge”.
Kurai Umi: “Kurai Umi” (Dark Waters) is a trip to a “Japan of the mind” (since sadly I’ve never been there), suggested by a Shakuhachi flute, a Koto and a Taiko drum. The melody is in the Insen pentatonic scale, somewhat similar to the E Phrygian mode.
Ceilidh: The track is a celtic Jig that starts as a folk tune lead by a tin whistle and ends as a symphonic piece shepherd by a violin, masterfully played by Valentina Borgato. The melody swings between the G Mixolydian (the merry phrase) and D Dorian modes (the somber one).
Changes: the song is about those subtle movements that may alter your feelings and perceptions. An ostinato motif on the viola changes its meaning thanks to the efforts of a flute over an electronic background. It explores the realms of the B Locrian mode but, thanks to the changes in the electronic drone, the piano arpeggio and the flute melody, the piece ends in a more serene C major.
Don't Worry: Sometimes you just have to let it go. A carefree swing track like “Don’t Worry” may be just what you need then. A trumpet (with and without mute) takes it easy together with a clarinet over the accompaniment of a piano trio. The composiiton explores the C major blues scale. At my ears it’s the scale of the serene acceptance and embrace of life, with its peaks and valleys.
No More Fears: One way to face our troubles is to assert our will and fight back. “No More Fears” is a small rock anthem in that vein. Confronted by a cocky horns section, the lead flute becomes progressively more assertive, supported by a dense arrangement featuring a string section, piano, hammond organ, drums and percussions. This composition explores the A minor blues scale. The blues scale can be mournful, but I wanted to prove it can be assertive too.
