Cosmos, Earth & Subterranea Part II
This improvisation starts with a similar texture, and even the same tonal centre as Lydian Gravitational Wave, but then develops into a different character due to very different modes, yet maintains a continuation of themes. It feels like part 2 of the same story — a story about forces of nature both cosmic and terrestrial. D major is the tonic triad shared by both the D Lydian dominant mode of Lydian Gravitational Wave, and the D Lydian sharp 2 mode of this piece of music. Despite sharing the same tonic triad, the Lydian sharp 2 mode in this piece has more of a feel of suspended waiting, nostalgia, and hope mixed with sorrow. Trees often symbolise resilience, strength, deep roots, standing ground, transformation and growth; especially ones that are capable of withstanding storms by bending without breaking, and rising up again. They maintain their integrity no matter what the weather throws at them. The age of many trees, like a majestic oak, or an ancient pine brings to mind the idea of almost timeless history. The stormy themes in this piece of music, along with the feeling of suspended waiting captured my imagination — I pictured the idea of an invitation to meet at the site of a grand, dignified tree that has withstood the test of time. But the meeting hasn’t happened yet.
I started in D Lydian sharp 2 with sweeping fast arpeggios/broken chords, which had elements of wind and rain, distant thunder, and sometimes lighter rain showers. At times the turbulent arpeggiated texture calmed to reveal a lone-voiced melody in the right hand with a varied broken chord accompaniment in the left hand. This alternation between textures continued throughout the piece, even as the modes changed. The Lydian sharp 2 melody had tension due to its distinctive harmonic minor augmented 2nd, and paradoxical brightness due to its raised 2nd and Lydian raised 4th.
Next I modulated to A Locrian natural 6 — the Locrian natural 6 mode is full of tension and darkness, particularly when making use of the diminished tonic triad and the augmented supertonic chord as I did.
I moved back through D Lydian sharp 2 in order to modulate to E Dorian, which has a more grounded feel than the two previous modes (as they are modes of the harmonic minor scale which tend to feel less resolved). The texture at this point took on some chord planing, which felt more resolute than the previous single-line melodies or fast arpeggios. This felt like it represented the standing ground imagery; and the melancholy of the Dorian mode also brought to mind the idea of a nostalgic reunion.
Then I returned to D Lydian sharp 2, and ending in that mode left a feeling of suspension and waiting — waiting for that meeting.
Modes – Notes and Parent Scales
| Mode | Notes | Parent Scale | Modal Relationship |
|---|---|---|---|
| D Lydian ♯2 | D – E♯ – F♯ – G♯ – A – B – C♯ | F♯ harmonic minor | 6th mode of harmonic minor |
| A Locrian ♮6 | A – B♭ – C – D – E♭ – F♯ – G | G harmonic minor | 2nd mode of harmonic minor |
| E Dorian | E – F♯ – G – A – B – C♯ – D | D major | 2nd mode of major |
Interval Formulas
D Lydian ♯2
1 – ♯2 – 3 – ♯4 – 5 – 6 – 7
A Locrian ♮6
1 – ♭2 – ♭3 – 4 – ♭5 – 6 – ♭7
E Dorian
1 – 2 – ♭3 – 4 – 5 – 6 – ♭7
Further reading and listening
Learn more about modes of the major, harmonic minor and melodic minor scales here
