Mixolydian & Mixolydian ♭6 Trilogy

This improvisation was unplanned (as is often the case) — I had a few ideas in my head, particularly of wanting to play something in B♭ Mixolydian, but instead of following those plans, something else took shape, although it did play out in B♭ Mixolydian. This is just one take — no re-recording or editing. The first attempt is always the most honest, so I leave it exactly as it is.

I chose Intermezzo as a title because the piece moves between modal centres in a way that feels transitional — musically ‘in-between,’ which seemed to fit both the structure and the character of the improvisation. It also felt to me like an ‘in-between’ piece as a whole, not only in the transitions within it. As such, this ended up being part of a series — starting with Displaced, and followed by Rhapsody in D.

Structure, Texture and Modes Used

The introduction is fairly extended, and is in B♭ Mixolydian (not to be confused with the Mixolydian ♭6 mode) with a momentary shift to G Aeolian, and then back again. This section consists of spacious and pensive melody interspersed with ascending broken chords with displaced entry points (a texture that was popular in Romantic era music, such as Chopin and Liszt). I used the idea of displaced broken chords and arpeggios more extensively in the following piece: Displaced — Improvisation in F Mixolydian & Mixolydian ♭6, With E♭ Dorian

The next section is still in B♭ Mixolydian with brief shifts to G Aeolian, using the same harmonic progression as the opening section, but this time with a more continuous broken chord accompaniment in the left hand, along with four-part chords, harmonic 6ths (and other harmonic intervals) and single-line melodies in the right hand.

Then the music modulates to E♭ Lydian, with a more close-position chordal texture and syncopated left hand. 

Next the music moves to a complete progression in G Aeolian (as opposed to the momentary shifts into G Aeolian that occur in the first two sections), which includes minor 7th chords, giving a modern feel to the harmony, and similar texture and rhythm to the Lydian section.

Finally, the music returns to B♭ Mixolydian, with an almost-reprise of the first main section (not the extended introduction), and a winding down of tempo. 

Mode Table

Here is a chart of the modes used, their parent scales, and exact note names:

Mode	Parent Scale	Note Names
B♭ Mixolydian	E♭ Major	B♭ – C – D – E♭ – F – G – A♭
G Aeolian	B♭ Major	G – A – B♭ – C – D – E♭ – F
E♭ Lydian	B♭ Major	E♭ – F – G – A – B♭ – C – D

You can learn more about the modes used here:

The Mixolydian Mode: Complete Guide with Note Names in All 12 Keys

Aeolian Mode (Natural Minor Scale): Note Names in All 12 Keys, Character, and Examples

Lydian Mode Explained: How to Use it and Note Names in All 12 Keys, With Examples

You can find a more general guide to all modes here: Complete Guide to Modes of the Major, Melodic Minor, and Harmonic Minor Scales

You might also like Aster — Improvisation in G♯ Aeolian