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Topic: Aeolian mode

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  Aeolian mode - Wikipedia, the free encyclopedia
An aeolian mode formed part of the music theory of ancient Greece, based around the relative natural scale in A (that is, the same as playing all the 'white notes' of a piano from A to A).
The term aeolian mode fell into disuse in mediaeval Europe, as church music based itself around eight musical modes: the relative natural scales in D, E, F and G, each with their authentic and plagal counterparts.
The aeolian mode consists of the same components as the major mode with the minor's sixth scale degree as its tonic.
en.wikipedia.org /wiki/Aeolian_mode   (483 words)

 Musical mode - Wikipedia, the free encyclopedia
However, the reciting tones of modes 3, 4, and 8 rose one step during the tenth and eleventh centuries with 3 and 8 moving from b to c' (half step) and that of 4 moving from g to a (whole step).
A mode is said to be minor if the 3rd scale degree is flattened; that is, if the third scale degree is three semitones above the root, instead of the four semitones in a major mode.
Most of these chords and modes are commonly used in jazz; the min/maj chord, 7♯11 and alt were in common use in the Bebop era (indeed, the Lydian dominant scale and 7♯11 chord practically defined the bebop sound), while Coltrane-era and later jazz made extensive use of sus♭9 chords.
en.wikipedia.org /wiki/Musical_mode   (1766 words)

 aeolian - Search Results - MSN Encarta
Aeolians, one of the three great divisions of the Hellenic stock, tracing their descent from Aeolus.
Aeolian Harp, musical instrument in which several gut strings of different thicknesses and equal length are stretched over a narrow, oblong box....
Aeolian Mode, in music, the mode or scale consisting of notes A to G, centered and beginning on A, but using only the notes of the C major scale....
ca.encarta.msn.com /aeolian.html   (97 words)

 Modes in Traditional and Early Music
The Ionian, in fact, was termed the "lascivious mode." One of the composers who was particularly fond of using the flatted B in this manner was Abbess Hildegard of Bingen.
In plagal modes (which are the modes a fourth below the authentic modes), the tenor is a third below the tenor of the corresponding authentic mode.
The first basic scale given is with the B omitted, the second with the F. The Hexatonic mode which would be ambiguous between the Locrian and Lydian is impossible due to the omission of the keynote.
clem.mscd.edu /~yarrowp/MODEXh.html   (907 words)

 The Diatonic Scales   (Site not responding. Last check: 2007-10-09)
The seven modes of the diatonic scale (Lydian, Ionian, Mixolydian, Dorian, Aeolian, Phrygian and Locrian) were (with the exception of the Locrian) widely used in the pretonal Western music of the Middle Ages.
The tendency of the diatonic scale is toward the major interpretation rather than the aeolian, so once we are in the aeolian mode it is quite natural to drift back to its relative major scale.
The aeolian mode is generally avoided in common practice classical music, because its cadences are less decisive than the harmonic minor scale's.
dspace.dial.pipex.com /andymilne/Diatonic.shtml   (1229 words)

 A Theory on Open Modality
So, what I mean by hand-in-hand is that, if the modes are placed in their relative location whereby the same seven tones are established, Lydian being in the key of F and Phrygian in E - the scale of the Lydian mode becomes the opposite of the Phrygian by vectors and tones played.
Even as these paired modes reflect, as in the first one, great brightness and darkness, on the key board they are positioned distantly by ascending order, when moving from the bright to the dark.
Mode 1 (Lydian) is F and Mode 6 (Phrygian) is E. The second being moderate where Mode 2 (Ionian) is C and and Mode 6 (Aeolian) is A. And lastly Mode 3 (Mixolydian) is G and Mode 4 (Dorian) is D. An inverse effects occurs when moving from the darker to the lighter.
www.afn.org /~afn54096/mus-theor/Modsw.html   (769 words)

 Modes, Keys, and Tunings   (Site not responding. Last check: 2007-10-09)
The mode of a piece is determined by the notes of that piece as laid out in the linear form called a scale.
When you tune to a mode (rather than capoing), the bass string is always in the Mixolydian mode and the middle string is in the Ionian modes because the tonic of the key is on the open string and at the third fret respectively.
An advantage of using the capo method of changing modes is that you can tune the three strings so their modes are compatible and then put the capo on for different compatible modes.
www.bearmeadow.com /smi/modes.htm   (2789 words)

 Mode question - StoneDragon's Guitar Discussion Forum
The Phrygian mode is hwwwhww, the root note is the third note of the iolian mode..etc etc..till the seventh mode..
Modes are so simple that they get complicated because the premise is so straightforward that we mere mortals try to make them harder than they are.
Another way of thinking of modes in very laymans terms is that a mode is a pattern, I know I said it isn't and its an interval but that might be hard to comprehend at first so if you don't know intervals, think of each pattern as it relates to the chord scale.
www.zentao.com /ubb/Forum3/HTML/000356.html   (2307 words)

 Minor Keys - I
The Dorian mode, the Phrygian mode, and the Aeolian mode.
Harmonic minor is the Aeolian mode with note 7 raised a half-step, allowing the five chord to be a major chord.
The Aeolian mode (or natural minor) sounds minor and feels minor, but it doesn't have that nice V to i sound, because the five chord in Aeolian is minor.
chordmaps.com /part11.htm   (1433 words)

 Marc Sabatella's Jazz Improvisation Primer: Major Scale Harmony
The sixth mode, the relative minor, is called the aeolian mode.
The phrygian mode is used occasionally over a minor seventh chord, although often the chord is written as m7b9 as a hint to the improviser that the phrygian scale is to be used.
The fourth mode of the major scale is the lydian mode.
www.outsideshore.com /primer/primer/ms-primer-4-2.html   (1473 words)

 Ricercares by Vincenzo Galilei
For example, Dorian mode with B flat is the same, intervallically, as the Aeolian mode (which is the same the descending form of our harmonic minor scale.
Glareanus mentions hypothetical modes (13 and 14) on B, but dismisses them as impractical since their scales cannot, like those of the other modes, be divided into a perfect fifth plus a perfect fourth, or the reverse.
To bring the pitch of the modes into a different relationship with the "tessitura" (or middle compass) of the voice, modes can be raised or lowered in pitch, most usefully by means of a key signature of one flat.
www.recorderhomepage.net /galilei.html   (2472 words)

 Lesson 6
The Locrian mode does not have a major or minor chord as the 1st chord, therefore it is not used in most modal contexts.
Therefore what makes the Aeolian mode different from a song that might be written in a minor key is that it will only use the notes and chords build from the mode.
Here are the relative modes of C major with the tonic chord, and the characteristic chords of that mode.
home.san.rr.com /jahome/bass/lesson6.htm   (2554 words)

 Aeolian mode
It seems that the additional modes were used in popular folk music, but were not part of the official church repetoire.
The tenth mode was the plagal version of the aeolian mode, called hypaeolian (under aeolian), based on the same relative scale, but with the
F# Aeolian mode is the A major scale starting on F#; the key signature has three sharps.
www.mp3.fm /Aeolian_mode.htm   (363 words)

 Guitarsecrets.com - Aeolian mode and guitar modes
The Aeolian mode is the 6th mode in the Major key.
The Dorian mode or Dm mode and the E Phrygian or Em mode, the F Lydian mode and the G Mixolydian Mode.
The Aeolian mode is the natural minor to the key of C major.
guitarsecrets.com /aeolian.htm   (367 words)

 Guitar Notes Discussion Forum: Scale question
A minor is the "aeolian mode" found in the Key of C. Because of the use of the C chord (built on a C natural), and the G chord (built on a G natural), this song will have a modal flavor in the chord progression.
Dropping a note such as the b6 of the Aeolian Mode and still playing the other notes would loose integrity, especialy when the note is left out of a chord, yet it is done when playing 11th or 13th chords.
Mode structure and integrity changes but not suffer loss unless a note is vital to a chords sound.
www.guitarnotes.com /forum/ultimatebb.cgi?ubb=get_topic;f=20;t=000065   (1695 words)

 [No title]   (Site not responding. Last check: 2007-10-09)
The Dorian mode is derived according to melodic intervals and notated in harmonic intervals below.
In the Aeolian mode the Sixth 16:27 is replaced by a smaller Sixth 81:128.
The arrangement of modes follows the order given above, beginning with the center D Dorian and moving out by fifths towards B Locrian, increasing the number of smaller intervals, and then returning to the center D and moving to the left towards F Lydian, increasing the number of larger intervals.
www.ux1.eiu.edu /~cfaah/megastaff/modes2.htm   (582 words)

 Lesson 23- Modes
The first and perhaps most important thing to remember about modes is: A mode is distinguished by the pattern of tones and semitones, not by the actual pitches used.
'E' is the sixth note of the G-major scale, and the mode based on the sixth note is the aeolian mode.
E-flat is the 4th note of the B-flat scale; therefore, this is in the Lydian mode, which is the mode based on the 4th note of a major scale.
www.musictheory.halifax.ns.ca /23modes.html   (926 words)

 Phrygian mode   (Site not responding. Last check: 2007-10-09)
WW1/2WWW1/2 = Ionian W1/2WWW1/2W = Dorian 1/2WWW1/2WW = Phrygian WWW1/2WW1/2 = Lydian WW1/2WW1/2W = Mixolydian W1/2WW1/2WW = Aeolian 1/2WW1/2WWW = Locrian
One most often hears the phrygian mode in musics deriving from the classical tradition in Spain (which was undoubtably influenced by local spanish folk traditions and the moorish invasions).
The corresponding mode from the harmonic minor scale is also used interchangably with the phrygian mode in such musics.
members.aol.com /snglstringtheory/archive/feb14.html   (1325 words)

 The Ancient Musical Modes: What Were They?
When Plato said the Dorian mode sounds sincere, and Aristotle said that it avoids extremes, they perhaps meant that there are no 1 1/2-step intervals, and/or that the upper tetrachord matches the lower tetrachord and/or that the tonic would usually fall on one of the middle strings.
The Dorian mode settles the mind and is gravest and manliest and "avoids extremes".
Dorian is E to E on the white keys, Phrygian is D to D on the white keys, Lydian is the major, Aeolian is still the natural minor, Mixolydian is B to B, etc. Credits Pythagoras with introducing the octave as two tetrachords a fifth apart.
www.pathguy.com /modes.htm   (2753 words)

 Jeffrey Ryan Smoots Progressive Music
The Aeolian Mode is shown here, arranged to cover two octaves on the guitar.
To play this mode in the key of C (like you did in lesson 10), start the first note of the mode on the 17th fret.
So, your new A Aeolian Mode would consist of the notes A, B, C, D, E, F, G, A. The Minor Scale, it turns outs, is created by starting the Major Scale on it's sixth note.
www.jrsmoots.com /guitarlessons/lesson15.htm   (263 words)

 TigerBill's DrumBeat Community Forums: help with minor scales   (Site not responding. Last check: 2007-10-09)
"Natural minor" is also known as "aeolian mode." The scales you wrote out are the C dorian and F dorian, respectively, not C minor and F minor.
In jazz studies (skipping past the why's of it for the moment), a minor chord is often associated with the dorian mode.
Practicing the other modes is a good thing to do, but at auditions, those three forms of the minor scale are the ones most commonly asked by professors.
www.tigerbill.com /cgi-bin/ultimatebb.cgi?ubb=print_topic;f=4;t=000110   (1020 words)

 iBreatheMusic Forums - Which notes are to emphasize ??
The 4th (A) works because when you emphasize this note you are really playing a dorian mode rooted from the 4th scale degree of the E Minor scale (A Dorian the key is G Major or E Minor).
But Dorian is closely related to Aeolian so there souldn't be too much tention between the melody and harmony, try it with B Aeolian too just to hear the difference.
I said he could use aeolian but I said there would be a bit of tention between the C# of the Amaj and the C in E aeolian (tention is not a bad thing).
www.ibreathemusic.com /forums/showthread.php?t=3998   (2810 words)

 Guitar Scales & Modes - Aeolian Mode - How To Improvise
Aeolian Mode * (Natural or Pure Minor Relative) This is the mode that creates "natural harmony/melody" to the Ionian mode, thus taught so far in this series of mode lessons as C Ionian.
This lesson outlines an easy guitar lick which is derived from A Aeolian, that can be played in harmony with the C Ionian guitar lick below, which will create a "Blue Oyster Cult" 2 lead guitar effect.
A Aeolian Mode A B C D E F G A e :---------------------------------------------------
www.guitartabbooks.com /freelessons/howtoimprovise.htm   (120 words)

 Aeolian - Wikipedia, the free encyclopedia
The Aeolians, said to be descended from Æolus
the Aeolian mode, the musical mode based on the sixth note of the major scale, which is the same as the natural minor scale.
This is a disambiguation page: a list of articles associated with the same title.
en.wikipedia.org /wiki/Aeolian   (131 words)

 Guitarsecrets.com - Fmajor and guitar modes.
The sixth note of the major key is the Aeolian mode.
F to F. Then you use the Dorian Mode which is G to G. The last part of the lead uses arpeggios.
I consider the minor modes the minor pentatonic and the major modes the major pentatonic.
guitarsecrets.com /lessons/fmajor.htm   (930 words)

 Welcome to Mel Bay's Dulcimer Sessions® Web Magazine
This is a dulcimer player's explanation of the modes and how you can experience the modes and at the same time get more variety out of your playing by simply changing the tuning of your melody string.
A mode is simply another name for a scale of seven different tones progressing by half or whole steps to each note (tone) in the scale.
Another minor sounding mode is the Aeolian, beginning on fret "1," and ending on fret "8." This is sometimes referred to as the natural minor scale.
www.dulcimersessions.com /apr05/mountain.html   (751 words)

 aeolian - musical mode, musical scale
The diatonic genus of the aeolian mode equates to the 8ve-species from A to A, in ascending order thus ("t" means "tone" in the sense of "whole-tone", and "s" means semitone):
Note that the various ancient Greek modes had variant interval structures, depending on the genus and shade.
The aeolian mode is synonymous with the "natural minor scale".
tonalsoft.com /enc/a/aeolian.aspx   (306 words)

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