This improvisation was very experimental and a bit of a risk — it was much more freeform than usual. I usually at least have an idea of which modes I want to play and in which order when I sit down to improvise, and I often have some kind of structure forming in my head before I start. With this one, I was totally mentally unprepared, especially as I have never improvised in B Aeolian, B♭ Lydian ♯ 2 or A Phrygian Dominant before — I just had a vague idea of which key signatures to explore, but not the specific modes, texture or structure. The urge to play and record something took me by surprise. The only preparation I took this time was to warm up with a few scales and arpeggios immediately prior to playing. So, I hope you enjoy the result, and my inadvertent choice to match my outfit to the decor!

This improvisation felt like part 2 to “Other” (the previous day’s recording) hence the title. It feels like a development of certain ideas (e.g. some of the fast arpeggio figures), as well as the obvious use of the Lydian sharp 2 mode again (this time belonging to a different parent scale). As well as a development of ideas, this piece feels like a continuation of a story that was started in “Other”, with the result that the mood and character takes a slightly different turn.

This piece starts with fast sweeping arpeggios in B♭ Lydian ♯ 2 — the fast arpeggiated/broken chord ideas are becoming a bit of a signature of mine, as they keep appearing in my improvisations in some varied form. I guess I have a weakness for very Romantic era pianistic textures. 

Then the music modulates to B Aeolian, with a totally freeform choice of chord progression diatonic to the key, sometimes hinting at the parent scale (or relative major) — D major. The texture in this section consists of chords with melodic voicing in the right hand, and various arpeggiated and broken octave accompaniment figures in the left hand.

Next the music modulates to A Phrygian Dominant, with a more pensive version of the opening arpeggios, echoing (but not replicating) the pattern I used in Other. Then a more melodic exploration of the A Phrygian Dominant mode appears, before modulating back to B Aeolian, and closing with a slower reprise of some of the earlier ideas.

Explanation of Modes Used, and Mode Table

B Aeolian is the 6th mode of the D major scale, B♭ Lydian ♯2 is the 6th mode of the D harmonic minor scale, and A Phrygian Dominant is the 5th mode of the D harmonic minor scale.

Mode	Parent Scale	Notes of the Mode
B Aeolian (natural minor)	D major	B – C♯ – D – E – F♯ – G – A
B♭ Lydian ♯2	D harmonic minor	B♭ – C♯ – D – E – F – G – A
A Phrygian Dominant	D harmonic minor	A – B♭ – C♯ – D – E – F – G

Learn more about modes here: Complete Guide to Modes of the Major, Melodic Minor, and Harmonic Minor Scales

Here are more improvisations using the Aeolian mode:

Aster — Improvisation in G♯ Aeolian

Aeolian Nocturne in G — Improvisation with G Aeolian, Dorian and Phrygian Modes

Rhapsody in D — Improvisation in D Mixolydian ♭6 & D Aeolian, With F Major