This article focuses on the characteristics of Sasha Sokolov’s writing and the role that music plays in his verbal composition. Drawing on evidence from the writer’s biography, comments and interviews, it is possible to identify a specific connection between Sokolov’s proezia and his understanding of music composition — a connection that has yet failed to be grasped and examined by critics. Sokolov’s most recent literary work Triptych (2011) provides the reader with a set of clues helping to reveal the connection of Sokolov’s oeuvre with the world of music. Building on that, the author of the article intends to further explore the ways through which music partakes in the verbal composition of Triptych. The results point to the possibility of reconsidering the whole of Sasha Sokolov’s oeuvre from a novel point of view, one that would highlight the meaning of music in his literary works.