This was another improvisation that was very spur of the moment.
This improvisation felt like a mirror image of Triptych in B♭. Where Triptych began in B♭ Mixolydian ♭6, moved through the flattened submediant major and tonic minor, and then expanded through Dorian before returning to the Mixolydian ♭6 plus major/minor cycle; this one begins in C Dorian, modulates into a C Mixolydian ♭6/ flattened submediant major/ tonic minor cycle, then it comes back to Dorian. It also goes into Phrygian along the way, hence the expansion into four panels instead of three (“tetra” instead of “tri”). The modal path traces C Dorian → C Phrygian → C Mixolydian ♭6 → A♭ major → C minor → back to C Mixolydian ♭6, and finally returns home to C Dorian. The recurring left-hand pattern — often consisting of root, 8ve, 10th, 12th (plus a 15th in the Mixolydian ♭6 section) — anchors the whole journey like a calm horizon beneath shifting skies.
Section 1 – C Dorian brightness and wistfulness
Rapid right-hand triplet arpeggios shape a melody traced by the upper voice — fast , but atmospheric rather than urgent. The abundance of major chords within the minor flavoured mode — e.g. VII, III, and IV — brings a bittersweetness to the Dorian sound. Learn about the Roman numerals chord naming system here.
Section 2 – C Phrygian mystery and uncertainty
Pivoting via a Neapolitan 6th, the harmony moves into C Phrygian. The texture by this point has changed to block triads and harmonic intervals — part of the pivot into this Phrygian section was created by this texture appearing whilst still in Dorian. This Phrygian section isn’t as dark sounding as some of my previous Phrygian improvisations — more mysterious, unsettled, uncertain.
Section 3 – C Mixolydian ♭6 cycle
The “Triptych” geometry reappears — C Mixolydian ♭6 → A♭ major → C minor → back to C Mixolydian ♭6 — cycled through more than once. Right-hand sixths and thirds open into four-part chords in the high register, the sound gradually expanding upward.
Section 4 – Return
Back in C Dorian, the earlier texture reappears — the fast triplet cascades, at first more contemplative and pensive — pausing at each harmonic turn, before picking up into a more certain pace again, as if a decision has been made.
The structural symmetry with Triptych in B♭ was unplanned, but felt natural — a mirror in both tonality and form, but also an expansion from three panels to four. Not perfect symmetry, but slightly evolved.
The left-hand pattern is something I have used in various forms in other improvisations, like a theme tying them together despite a lot of differences — it feels like continuity: the same current carrying different passengers.
The fast cascading right hand triplets also seem to be a recurring theme for my improvisations lately — each time a vessel for different harmonic progressions and melodic shapes.
Modes and Parent Scales Used in Mirror Tetraptych
Summary of modal and tonal materials explored in Mirror Tetraptych, showing each mode’s parent scale and functional relationship:
| Mode | Notes (ascending) | Parent scale (or relative major) | Mode relationship |
| C Dorian | C D E♭ F G A B♭ C | B♭ major | 2nd mode of B♭ major |
| C Phrygian | C D♭ E♭ F G A♭ B♭ C | A♭ major | 3rd mode of A♭ major |
| C Mixolydian ♭6 | C D E F G A♭ B♭ C | F melodic minor (ascending) | 5th mode of F melodic minor |
| A♭ major | A♭ B♭ C D♭ E♭ F G A♭ | — | Ionian / parent scale itself |
| C harmonic minor | C D E♭ F G A♭ B C | E♭ major (relative major) | Harmonic minor tonality |
Only after publishing did I realise that in addition to the harmonic structure, the textural design mirrors and reverses Triptych in B♭ — the Dorian and Mixolydian ♭6 textures are swapped, and the modal order itself reversed, so both works begin and end in a similar fast triplet motion. It’s like an infinity mirror.
If you’d like to understand how I use modes in harmonic progressions, see What Is Modal Improvisation?
Listen to Triptych in B♭ for its tonal counterpart.
Listen to more improvisations using the Mixolydian flat 6 mode: Mixolydian Flat 6 Mode
You might also like Orbit – Improvisation in F Aeolian, D♭ Lydian and A♭ Ionian
Or Aeolian Nocturne in G — Improvisation with G Aeolian, Dorian and Phrygian Modes
To learn more about modes, read my article: Complete Guide to Modes of the Major, Melodic Minor, and Harmonic Minor Scales
The curiosity that drives my improvisations also shapes how I teach — through video exchange lessons offering in-depth written and recorded feedback to students everywhere.
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