Aeolian mode

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The Aeolian mode is a

natural minor scale
. On the piano, using only the white keys, it is the scale that starts with A and continues to the next A only striking white keys. Its ascending
interval form
consists of a key note, whole step, half step, whole step, whole step, half step, whole step, whole step. That means that, in A aeolian (or A minor), you would play A, move up a whole step (two piano keys) to B, move up a half step (one piano key) to C, then up a whole step to D, a whole step to E, a half step to F, a whole step to G, and a final whole step to a high A.

{ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/4 \key c \aeolian c4^\markup { C Aeolian scale } d es f g aes bes c2 } }

History

The word Aeolian, like the names for the other ancient Greek tonoi and harmoniai, is an ethnic designation: in this case, for the inhabitants of

plagal counterparts, and with the option of B♭ instead of B♮ in several modes.[4]

In 1547,

Pietro Aaron was the first theorist to explain polyphonic modal usage in terms of the eightfold system, including these transpositions.[8] As late as 1581, Illuminato Aiguino da Brescia published the most elaborate theory defending the eightfold system for polyphonic music against Glarean's innovations, in which he regarded the traditional plainchant modes 1 and 2 (Dorian and Hypodorian) at the affinal position (that is, with their finals on A instead of D) as a composite of species from two modes, which he described as "mixed modes".[9] Glarean added Aeolian as the name of the new ninth mode: the relative natural mode in A with the perfect fifth as its dominant, reciting tone, reciting note, or tenor. The tenth mode, the plagal version of the Aeolian mode, Glarean called Hypoaeolian ("under Aeolian"), based on the same relative scale, but with the minor third as its tenor, and having a melodic range from a perfect fourth below the tonic to a perfect fifth
above it.

Scholars for the past three centuries have regarded the modes added by Glarean as the basis of the

classical European music, as homophonic music replaced Renaissance polyphony. Howard S Powers considers this to be an oversimplification, since the key of A minor is as closely related to the old transposed modes 1 and 2 (Dorian and Hypodorian) with finals on A—as well as to mode 3 (Phrygian)—as it is to Glarean's Aeolian.[3]

In modern usage, the Aeolian mode is the sixth mode of the major scale and has the following formula:

1, 2, ♭3, 4, 5, ♭6, ♭7, 8

The Aeolian mode is the sixth mode of the major scale, that is, it is formed by starting on the sixth degree (submediant) of the major scale. For example, if the Aeolian mode is used in its all-white-note pitch based on A, this would be an A-minor triad, which would be the submediant in the relative major key of C major.

{\override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/4 \hide Staff.TimeSignature a4^\markup { A Aeolian scale } b c d e f g a2 } }

Aeolian harmony

All harmony Aeolian except for the Picardy third ending this i–v–i–iv–i–v–I progression

Aeolian harmony

mode mixture
.

For example, ♭VII is a major chord built on the seventh scale degree, indicated by capital Roman numerals for seven.

There are common subsets including i–♭VII–♭VI, i–iv–v and

circle progression).[11] Middleton[11] suggests of modal and fourth-oriented structures that, rather than being, "distortions or surface transformations of Schenker's favoured V–I kernel, it is more likely that both are branches of a deeper principle, that of tonic
/not-tonic differentiation."

Songs that use Aeolian mode

The Aeolian mode is identical with the

natural minor scale. Thus, it is ubiquitous in minor-key music. The following is a list of some examples that are distinguishable from ordinary minor tonality, which also uses the melodic minor scale and the harmonic minor scale
as required.

See also

References

  1. ^ "Aeolian". Oxford English Dictionary (Online ed.). Oxford University Press. (Subscription or participating institution membership required.)
  2. ISBN 978-0-19-517067-2
    (set).
  3. ^
    ISBN 978-0-19-517067-2
    (set).
  4. ISBN 978-0-19-517067-2
    (set).
  5. ^ Clement A. Miller, "Glarean, Heinrich [Glareanus, Henricus; Loriti]", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan, 2001).
  6. ^ Clement A. Miller, "Glarean, Heinrich [Glareanus, Henricus; Loriti]", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan, 2001); Harold S. Powers, "Mode, §III. Modal Theories and Polyphonic Music, 4: Systems of 12 Modes, (ii): Glarean's 12 Modes." The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001).
  7. ISBN 978-0-19-517067-2
    (set).
  8. ^ Harold S. Powers, "Is Mode Real? Pietro Aron, the Octenary System, and Polyphony", Basler Jahrbuch für historische Musikpraxis 16 (1992): 9–52.
  9. ISBN 978-0-19-517067-2
    (set).
  10. ^ Alf Björnberg ([full citation needed]1985). Cited in Middleton 1990, p. 198.
  11. ^
    ISBN 0-335-15275-9
    .
  12. ^ a b Gary Ewer, "Dorian Mode, Aeolian Mode, Minor Key... What’s the Difference?", The Essential Secrets of Songwriting Blog (accessed 14 December 2014).

External links

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