I chose the name Damselfly Iridis for this improvisation, because the switching subdivisions of beats at the start (a variation of a rhythmic technique known as horizontal hemiola), and fast arpeggio textures (sometimes in vertical polyrhythms) interspersed throughout the piece, felt like they echoed the idea of a damselfly newly emerged from it’s nymph phase, testing it’s wings, flitting about. The “iridis” part of the title reflects the shimmering iridescence of the damselfly colours. The word iridis is connected to Iris, the goddess of the rainbow in Greek mythology — a messenger who travels along the rainbow. The Mixolydian flat 6 mode in particular brings iridescent colours to my mind. Damselflies symbolise transformation, transition, adaptability and self-realisation. I felt the moments of light and sometimes unsettled uncertainty in the modes reflected these ideas. Transformation can be a hard process, with moments of both light and darkness, and the feelings encountered along the journey can touch on all colours of the rainbow. The occasional irregularity of rhythms and phrase lengths in this piece of music tells a story of transformation that is jagged and real.
I started in F Dorian which has ambiguity due to the warmth and light of the major 6th, and the shade of the minor 3rd. Throughout this first section I played a lot of triplet or quaternary arpeggio figures in both hands, switching between them whilst keeping more or less the same macro-pulse, resulting in an effect of re-dividing each moment — this could be thought of as a kind of linear/horizontal polyrhythm, or variation of a horizontal hemiola. Initially I also played a vertical polyrhythm — 3s in the right hand against 2s in the left hand, soon changing to 4s or 3s in both hands at once.
Then I modulated to A flat Lydian, which is a bright and uplifted mode, but with instability, like it can float away or fly away at any moment. I switched between the fast arpeggiated texture and a slower more lyrical texture whilst still in this mode.
Next I moved to F Dorian sharp 4, which has those moments of jagged darkness — it has the jagged contour of the augmented 2nd interval due to being a mode of the harmonic minor. The texture was still switching between the fast arpeggiated figures and slower more lyrical textures within this mode.
Then I transitioned through F Dorian into G Mixolydian flat 6, still with the intermittent texture changes.The Mixolydian flat 6 mode is another ambiguous sounding mode due to its light major 3rd and dark flat 6 — a bit like the opposing colours that seem to appear in the iridescence of the damselfly.
Finally, I closed the piece in F Dorian.
Modes used, note names, and parent scales
| Mode | Notes | Parent Scale | Mode Degree |
|---|---|---|---|
| F Dorian | F – G – A♭ – B♭ – C – D – E♭ | E♭ major | 2nd mode of the major scale |
| A♭ Lydian | A♭ – B♭ – C – D – E♭ – F – G | E♭ major | 4th mode of the major scale |
| F Dorian ♯4 | F – G – A♭ – B – C – D – E♭ | C harmonic minor | 4th mode of the harmonic minor scale |
| G Mixolydian ♭6 | G – A – B – C – D – E♭ – F | C melodic minor (ascending) | 5th mode of the melodic minor scale |
Interval Formulas
F Dorian
1 – 2 – ♭3 – 4 – 5 – 6 – ♭7
A♭ Lydian
1 – 2 – 3 – ♯4 – 5 – 6 – 7
F Dorian ♯4
1 – 2 – ♭3 – ♯4 – 5 – 6 – ♭7
G Mixolydian ♭6
1 – 2 – 3 – 4 – 5 – ♭6 – ♭7
Further reading and listening
Complete Guide to Modes of the Major, Melodic Minor, and Harmonic Minor Scales
