For this improvisation, I decided to explore the Dorian sharp 4 mode — a mode I have never explored before, but I was attracted to its otherworldly strangeness today, and its sorrowful restlessness. I also decided to try out B Dorian in combination with this mode — as mentioned in my previous two posts, sharp key signatures are a little outside my comfort zone as I have tended to improvise in flat keys instead, but I felt like challenging myself. Something about stepping outside my comfort zone gave me a new frame and new opportunities for expressing myself in different ways. I hope you enjoy the result.

Despite this improvisation being quite structured, it was very spontaneous, as with all my improvisations. I thought of the modes I wanted to use, and the order in which to use them, just before playing; but the way I played within them and created the melodies was made up on the spot. 

About the title: Sospirando e Sospeso is an Italian musical performance direction meaning yearning and suspended. Musical performance directions are usually in Italian because during Baroque and Renaissance eras of Western art music, when performance directions first started being used extensively, the majority of great composers were Italian. In addition, performance directions used as titles for pieces of music are a frequent occurrence in Western art music. Learn more about performance directions in music.

The introduction of this improvisation consists of fast contrary motion arpeggio figures in D Dorian ♯4, followed by a more melodic and chordal progression in the same mode.

Then the music shifts to B Dorian using a pivot chord — an E chord which is common to both modes. The scene is set for the B Dorian section with a descending run of Dorian triads from the high register combined with a tonic pedal bass, before moving into a more chordal and lyrical section. This section comprises paired note figures and broken chords in the left hand accompaniment; with three-part or four-part chords, harmonic 3rds and harmonic 6ths in the right hand. Something about the melodies in this section felt like they were expressing something plaintive and wistful in me. 

Then, the pivot chord from earlier is used to move back to D Dorian ♯4, resulting in a kind of reprise of the opening, but in reverse (i.e. a melodic and chordal progression followed by the fast contrary motion arpeggios). I finished the piece with the tonic of the D Dorian ♯4 mode, and as this is quite an unsettled mode, it felt a little open-ended and mysterious, like a door had been opened slightly, but with uncertainty of what’s behind it. 

Modes used

D Dorian ♯4 is the fourth mode of the A harmonic minor scale, and B Dorian is the second mode of the A major scale. Here is a table showing the modes, note names, and parent scales:

Mode	Parent Scale	Notes of the Mode
D Dorian ♯4	A harmonic minor	D – E – F – G♯ – A – B – C
B Dorian	A major	B – C♯ – D – E – F♯ – G♯ – A

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

Another improvisation using the Dorian mode:

Unspoken — Improvisation in F Major, F Dorian, B♭ Lydian, D & G Aeolian, A Phrygian

Another improvisation using the Dorian sharp 4 mode:

The Gossamer Hinge — Improvisation in C Dorian ♯4, B♭ Aeolian & G♭ Lydian ♯2

Another one using the Dorian mode:

Chimera — Improvisation in F♯ Dorian & F♯ Aeolian, D Mixolydian ♭6 & D Aeolian

Two other improvisations of mine using other modes of the harmonic minor scale are:

Other — Improvisation in B Mixolydian & C Lydian ♯ 2

Other, Part II — Improvisation in B Aeolian, B♭ Lydian ♯ 2 & A Phrygian Dominant