Writing music today is a difficult choice. Choosing the musical language that most belongs to us. Knowing if it is better to rely on past traditions or break all styles that recall harmonic and rhythmic concepts used for centuries.

I, in my music, consideri t necessary to continue the speech of the composers who preceded us. I think it is important not to forget that the voice, il canto, is the first musical instrument that nature has given us, so it is not my will to eliminate this primordial form of expression. The traditional harmony is based on scales of seven sounds moving in the ‘900 on scales of twelve sounds.

Shaula wants to be an album that does not break the link with the past, but wants to continue a musical discourse that summarizes all the main features of the music. Singing, with simple melodies that are easy to listen to. Rhythm, with periods and formulas linked to recognizable patterns. The shape, with constructions linked to the traditional tripartite solution. Instinct and improvisation, with the birth of rhythmic and melodic elements linked to pure instinct. The idea comes from a simple playing your instrument, being carried away by an emotional component that is then developed giving itself formal and harmonic rules.

Every scale used in Shaula is six sounds. Hexaphonal scales that give rise to harmonic modules sometimes tonal, sometimes modal and sometimes rich in dissonances. The whole principle is elaborated in function of the musical emotional moment.

Pre to.. .. to End are two parentheses that want to open the album and close it. An introduction and an epilogue of improvised modules that summarize the harmonic aspects of all the songs.

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Andrea Nosari