Improvisation Exploring Multiple Modes Around a Single Tonal Centre with a Neapolitan 6th Leitmotif 

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As with all my improvisations, this is unedited, and spur of the moment. This improvisation explores how subtle shifts in mode can refract the light of a single tonal centre — in this case, C  — into many emotional shades.

A defining feature of this piece is the Neapolitan 6th, a distinctively Romantic pre-dominant sonority (♭IIb, also written as ♭II⁶), traditionally used in minor keys to heighten the pull towards the dominant. Here is another improvisation of mine using a Neapolitan 6th.

In C minor, that means a D♭ major chord in first inversion, leading to ic – V – I (or it can just lead to V – I without the ic).

The Neapolitan 6th is the flattened supertonic chord — the ♭II chord — in first inversion so that the rich inner voice (F–A♭–D♭) falls smoothly into the dominant, or the tonic in 2nd inversion. Learn about chords and inversions here.

Learn about the extended Roman numerals system for chord naming here (this uses lower case and upper case Roman numerals to distinguish chord quality).

It is called a Neapolitan 6th because it is associated with a Neapolitan group of composers (the “Neapolitan School”), and because the root of the chord (in this case, D♭) is a 6th above the bass (F in this example).

Around this recurring motif, I brought in some different modal colours that orbit C minor:

• C harmonic minor – the relative minor of E♭ major, with a raised 7th (B natural) that gives the classic goal oriented drive for resolution due to its pull towards the tonic.
• C Aeolian – the 6th mode of E♭ major, darker and earthier, without the raised 7th. Also known as C natural minor.
• C Lydian Dominant – the 4th mode of G melodic minor, a bright and exotic scale with a sharpened 4th and flattened 7th, often used over a dominant 7th chord (here, C7).
• C Phrygian – the 3rd mode of A♭ major, with its characteristic flattened 2nd (D♭) creating a mysterious, darkness.

You can learn more about modes in my complete guide to modes here.

Read my guide to the Lydian Dominant mode here.

Structure and Texture

The improvisation begins with a C harmonic minor progression: i – V7 – IV – i, shifting briefly into C Aeolian in places to soften the edge of the raised 7th.

I play this twice — first with single-note melody and harmonic intervals (3rds and 6ths), then again with a fuller texture, using four-part chords interspersed with melodic fragments.

At the close of the second round comes a Neapolitan 6th cadence: ♭II⁶ – ic – V – i, firmly anchoring the tonality in harmonic minor.

From there, I move into a C Lydian Dominant colour — using it as a chord–scale pairing over a C7 chord.

The right hand traces a rising figure and a quick shimmer in the upper register before descending back into C harmonic minor, repeating the earlier progression and cadence.

The Lydian Dominant section returns later as a kind of mirror — the bright refraction to the earlier shadow.

A new darkness emerges in the C Phrygian section:
the right hand plays four-part chords alternating between Cm and D♭, while the left hand plays a low, dramatic melody in octaves using the Phrygian notes. This produces a kind of descent into the more shadowy underbelly of the C tonal centre. The distinctive flattened 2nd of the Phrygian mode (D♭) links thematically to the Neapolitan 6th that recurs throughout this piece.

You can read about how to improvise in the Phrygian mode here.

Finally, the piece circles back to C minor, touching lightly on Aeolian, and closes with two repetitions of the Neapolitan 6th cadence — again, a very distinctly Romantic style of tension and release.

The overall texture involves a lot of broken chord/arpeggiated figures in the left hand, with occasional melodic fragments, the aforementioned harmonic intervals and 4-part chordal melodies in the right hand, and occasional octave melodies in the left hand. As the texture tends to consist of a predominant melody in one hand, supported by accompaniment in the other, with all parts moving together under the same harmony, it would be classified as homophonic. A common misconception is that “homophonic” means that all parts should have the same rhythm or notes, but that is not the case. You can learn more about texture here: Texture in Music: A Pianist’s Guide to Monophonic, Homophonic and Polyphonic Writing

Reflections on the Recurrence of the Neapolitan 6th

The Neapolitan 6th becomes a leitmotif — perhaps a little indulgent in its recurrence, but that very indulgence is part of the character of this piece, inspired by Romantic era music. Used several times, it becomes thematic: a recurring colour that punctuates the sections.

Listen to Through the Prism: C Minor and the Neapolitan 6th

You can find some more of my modal improvisations here:

Other — Improvisation in B Mixolydian & C Lydian ♯ 2

Here is another improvisation using a Neapolitan 6th: Impromptu in G Minor — Improvisation in Harmonic Minor, Aeolian, Dorian, Phrygian & Dorian ♯4