This improvisation continues the story started in The Whitethorn Limen, and then The Gossamer Hinge. In Celtic mythology, the Ninth Wave is associated with Cliodhna, a queen of the Otherworld, and a goddess of love and birds. Her “Ninth Wave” is a transformative wave that brings us to the “Land of Promise” (Tir Tairngire). The Ninth Wave itself is a dangerous boundary, but once crossed beyond this threshold, there is the promise of eternal youth, wisdom and enlightenment. While The Gossamer Hinge represented the time-shift sense of standing at the threshold and seeing both worlds at once, this piece of music represents actually entering the Otherworld, and the sense of wonder once reached.
The word “ninth” in the title also has another meaning — in this piece I shifted between tonal centres that are a 9th apart. I started in C Lydian, which is 9th above B Aeolian which is where I modulated to. B Aeolian is a 9th above A Dorian which is where I modulated to next.
In The Whitethorn Limen I used A Dorian and C Lydian as well, and the brief use of C Lydian in that piece was like a glimpse of what is on the other side, as you’re looking past the threshold/sentinel. In this piece I stayed in C Lydian for the majority, representing the idea of having reached, and being in that bright place on the other side.
In The Gossamer Hinge I used continuous polyrhythms (cross-rhythms) to represent that time-shift feeling of seeing both realities at once. In this piece the two hands play a mixture of polyrhythms and synchronised rhythms — often both hands play fast triplets together, and there are places (such as when I play the broken octave bass at the start of each new harmony) where the hands go into a polyrhythm – 2s in the left hand with 3s in the right hand. This is all within a quadruple meter. It is like the two realities have synced up, but still with a visibility and felt-sense of their different times.
I started in C Lydian — the Lydian mode is a bright and ethereal sounding mode, and can often convey a sense of wonder.
Next I modulated to B Aeolian, still keeping the same texture of fast triplets in both hands interspersed with polyrhythms. The Aeolian mode tends to have more shadow and pensiveness, but it can also feel tranquil — like diving into a cold, clear pool of water after being swept away by the tidal wave.
Then whilst still in B Aeolian, I slowed down the tempo and played a simpler texture with an almost-pentatonic single-line melody. Pentatonic melodies occur a lot in folk-styles, including Celtic folk music. This felt like a safe home on the other side of the wave, for the eternally youthful being to sing their song. Or the sound of Cliodhna’s colourful birds whose songs heal the sick.
Then I retained a similar texture with a pivot to A Dorian. Then whilst still in A Dorian I returned to the earlier fast texture, then modulated back to C Lydian, and finished there.
Modes used, note names and parent scales, and 9th interval relationships between tonal centres
C Lydian is the 4th mode of the G major scale. B Aeolian is the 6th mode of the D major scale. A Dorian is the 2nd mode of the G major scale.
| Mode | Notes | Parent Scale | Interval to next Root |
|---|---|---|---|
| Mode | Notes | Parent Scale | Interval to next Root |
| C Lydian | C – D – E – F♯ – G – A – B | G Major | — |
| B Aeolian | B – C♯ – D – E – F♯ – G – A | D Major | m9 (down) |
| A Dorian | A – B – C – D – E – F♯ – G | G Major | M9 (down) |
Interval formulas
Lydian
1 2 3 ♯4 5 6 7
Aeolian (natural minor)
1 2 ♭3 4 5 ♭6 ♭7
Dorian
1 2 ♭3 4 5 6 ♭7
Further reading and listening
Complete Guide to Modes of the Major, Melodic Minor, and Harmonic Minor Scales
