Four pieces of music, completely different in character, but nevertheless with one hidden thing in common: they are not set in a major or minor key, but (each in a different) church mode: Dorian, Mixolydian, Lydian, and Phrygian. Specifically, they are:
1. The Blue Symphony in the Dorian mode based on C, for a big band including Alto Sax (also Flute), Tenor Sax (also Clarinet in B flat), Baritone Sax, 3 Trumpets, 3 Trombones, Piano, Jazz Guitar (also Acoustic Guitar), Bass, Drums and last but not least a Blues Harp in C. Notice: That means the Ionic mode is based on the tonic mode C, so it’s playing in the wrong key most of the time, but that doesn’t matter, because the music is pretty Dorian blue, not grey (gray) 😉
2. The Petite Green Suite is in the Mixolydian mode based on the tonic note D and is written for an Irish folk combo comprising Irish flute, Uilleann pipes, Bodhrán, Celtic harp, Irish bouzouki, and fiddle. The suite is “petite” because it is composed as one piece. Its seven sections — Overture, Hornpipe, Slow Air, Reel, Transition/March, Jig, and Finale — flow into each other without a pause. The suite has no bass except for the drones of the Uilleann pipes.
3. The Purple Grand Concerto is a Baroque Concerto Grosso for three solo instruments (two violins and harpsichord) plus string ensemble, in four movements in the traditional order of slow–fast–slow–fast: Grave – Allegro – Andante – Vivo. The first and last movements—and thus the concerto as a whole—are based on the tonic note G, the second on the tonic note C, and the third on the tonic note D. and in all cases the mode is Lydian.
4. The Rhapsody in Red The Rhapsody in Red is in the Phrygian mode based on the tonic note A and is written for an Orquestra Típica consisting of bandoneon, piano, guitar, violin, cello, and bass.
5. Locrian Madness is an encore. It is a piece in the Locrian mode based on the tonic note B, which is historically and practically never used. It uses only electronic sounds.
Enjoy!
ROMA MUSIC 