332:
49:
307:
197:
was the first theorist to explain polyphonic modal usage in terms of the eightfold system, including these transpositions. 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
43:
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.
344:
345:
298:) 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
1013:
Harold S. Powers, "Mode, §II. Medieval Modal Theory, 2. Carolingian
Synthesis, 9th–10th Centuries, (i) The Boethian Double Octave and the Modes, (b) Tetrachordal Degrees and Modal Quality."
202:
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". Glarean added
1440:
342:
1406:
111:(in the sense of a particular overall pitching of the musical system—not a scale), nine semitones higher than the lowest "position of the voice", which was called
265:
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.
126:
of the natural notes extending one octave from A to A—corresponding to the modern natural minor scale. Up until this time, chant theory recognized eight
343:
35:. 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
1000:(London: Macmillan, 2001); Harold S. Powers, "Mode, §III. Modal Theories and Polyphonic Music, 4: Systems of 12 Modes, (ii): Glarean's 12 Modes."
1578:
1402:
773:
1087:
Harold S. Powers, "Mode, III: Modal
Theories and Polyphonic Music, 3: Polyphonic Modal Theory and the Eightfold System, (ii) Composite Modes,"
417:
which contains it are also not used, as they are not part of the
Aeolian mode (natural minor scale). However, Aeolian harmony may be used with
179:
in the early tenth century, but they were regarded as merely transpositions from the regular finals a fifth lower. In the eleventh century,
849:, second edition, edited by Stanley Sadie and John Tyrrell, 29 volumes (London: Macmillan; New York: Grove's Dictionaries, 2001), 1:.
906:
Harold S. Powers, "Mode, §II. Medieval Modal Theory, 3: 11th-Century
Syntheses, (i) Italian Theory of Modal Functions, (b) Ambitus."
1190:
492:). Middleton suggests of modal and fourth-oriented structures that, rather than being, "distortions or surface transformations of
169:
modes rather than eight, including a separate pair of modes each on the finals A and C. Finals on these notes, as well as on B
1136:
1120:
1112:
1062:
1046:
1038:
955:
939:
931:
894:
878:
870:
830:
814:
806:
756:
740:
727:
516:
music. The following is a list of some examples that are distinguishable from ordinary minor tonality, which also uses the
310:
52:
1174:
1128:
1104:
1096:
1054:
1030:
1022:
947:
923:
915:
886:
862:
854:
822:
798:
790:
764:
748:
1162:
910:, edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001) (Example 5).
1243:
294:
The
Aeolian mode is the sixth mode of the major scale, that is, it is formed by starting on the sixth degree (
1216:
735:, part 1 (Sachteil), vol. 3 (Eng–Hamb) (Kassel & New York: Bärenreiter; Stuttgart: Metzler, 1995), 1652,
572:
532:
473:
997:
976:
782:
306:
48:
592:
1091:, edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001).
1017:, edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001).
268:
In modern usage, the
Aeolian mode is the sixth mode of the major scale and has the following formula:
1004:, edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001).
699:
1493:
542:
481:
250:
241:
Scholars for the past three centuries have regarded the modes added by
Glarean as the basis of the
1532:
1468:
704:
313:
55:
496:'s favoured V–I kernel, it is more likely that both are branches of a deeper principle, that of
1599:
1527:
1489:
1479:
622:
602:
457:
438:
120:
521:
193:, and C as "affinals", and later still the term "confinal" was used in the same way. In 1525,
1573:
1568:
1560:
1499:
712:
618:
517:
1210:
582:
41:
key note, whole step, half step, whole step, whole step, half step, whole step, whole step.
8:
1474:
1236:
768:
509:
32:
562:
552:
489:
725:
Egert Pöhlmann, Olympia Psychopedis-Frangou, and Rudolf Maria Brandl, "Griechenland",
1315:
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1074:
Harold S. Powers, "Is Mode Real? Pietro Aron, the Octenary System, and Polyphony",
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116:
36:
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261:. Howard S Powers considers this to be an oversimplification, since the key of
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28:
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1169:(Milton Keynes and Philadelphia: Open University Press, 1990), p. 198.
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222:. The tenth mode, the plagal version of the Aeolian mode, Glarean called
199:
135:
104:
588:
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88:
165:
in Basel. His premise had as its central idea the existence of twelve
668:
608:
538:
258:
254:
100:
785:(London: Macmillan; New York: Grove's Dictionaries, 2001), 10:339.
425:
166:
226:("under Aeolian"), based on the same relative scale, but with the
99:, it was an alternative name (used by some later writers, such as
651:
356:
299:
262:
176:
83:, is an ethnic designation: in this case, for the inhabitants of
331:
130:: the relative natural scales in D, E, F and G, each with their
548:
84:
1191:
Dorian Mode, Aeolian Mode, Minor Key... What’s the Difference?
87:(Αἰολίς)—the Aeolian Islands and adjacent coastal district of
655:
1148:
Alf Björnberg (1985). Cited in Middleton 1990, p. 198.
484:
using recursive fourth structures (repeated progression by
371:" scale, it allows for the construction of the following
312:
Audio playback is not supported in your browser. You can
54:
Audio playback is not supported in your browser. You can
437:
built on the seventh scale degree, indicated by capital
175:, had been recognized in chant theory at least since
210:
ninth mode: the relative natural mode in A with the
198:
regarded the traditional plainchant modes 1 and 2 (
692:
115:. In the mid-16th century, this name was given by
691:
1591:
230:as its tenor, and having a melodic range from a
1089:The New Grove Dictionary of Music and Musicians
1015:The New Grove Dictionary of Music and Musicians
1002:The New Grove Dictionary of Music and Musicians
990:The New Grove Dictionary of Music and Musicians
969:The New Grove Dictionary of Music and Musicians
908:The New Grove Dictionary of Music and Musicians
847:The New Grove Dictionary of Music and Musicians
774:The New Grove Dictionary of Music and Musicians
405:also produces ii, which is avoided since it is
503:
1237:
480:(V–I), and may be thought of as derived from
75:, like the names for the other ancient Greek
1158:
1156:
1154:
731:, second, newly compiled edition, edited by
367:of the Aeolian mode. Commonly known as the "
1076:Basler Jahrbuch für historische Musikpraxis
1251:
1244:
1230:
841:
839:
119:to his newly defined ninth mode, with the
1195:The Essential Secrets of Songwriting Blog
1151:
988:Clement A. Miller, "Glarean, Heinrich ",
967:Clement A. Miller, "Glarean, Heinrich ",
187:, designated these transposed finals A, B
330:
1185:
1183:
836:
508:The Aeolian mode is identical with the
1592:
339:ending this i–v–i–iv–i–v–I progression
138:counterparts, and with the option of B
1225:
728:Die Musik in Geschichte und Gegenwart
444:There are common subsets including i–
1180:
713:participating institution membership
335:All harmony Aeolian except for the
13:
460:derived chord sequences such as I–
324:
14:
1611:
1204:
845:Harold S. Powers, "Aeolian (i)",
383:), in popular music symbols: i,
340:
1142:
1217:Aeolian Mode at Guitar Roadmap
1081:
1068:
1007:
982:
961:
900:
719:
685:
375:(three note chords built from
1:
678:
533:God Rest You Merry, Gentlemen
500:/not-tonic differentiation."
1197:(accessed 14 December 2014).
992:, second edition, edited by
971:, second edition, edited by
512:. Thus, it is ubiquitous in
309:
216:reciting tone, reciting note
51:
7:
629:
504:Songs that use Aeolian mode
257:music replaced Renaissance
10:
1616:
979:(London: Macmillan, 2001).
593:Shine on you Crazy Diamond
66:
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1541:
1513:
1455:
1389:
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1301:
1268:
1259:
771:, "Greece, §I: Ancient",
700:Oxford English Dictionary
1494:descending melodic major
1441:descending melodic minor
667:, the equivalent scale (
654:, the equivalent scale (
543:All Along the Watchtower
251:classical European music
1469:ascending melodic minor
1407:ascending melodic major
1211:Aeolian mode for guitar
705:Oxford University Press
314:download the audio file
56:download the audio file
27:or, in modern usage, a
1480:Lydian augmented (III)
1253:Modes in Western music
1167:Studying Popular Music
458:blues minor pentatonic
349:
183:, in chapter 8 of his
107:called the Low Lydian
1561:Double harmonic scale
1533:Phrygian dominant (V)
1528:Ukrainian Dorian (IV)
619:Red Hot Chili Peppers
334:
234:below the tonic to a
1574:Hungarian minor (IV)
1500:Half diminished (VI)
1490:Aeolian dominant (V)
522:harmonic minor scale
1569:Double harmonic (I)
769:Thomas J. Mathiesen
703:(Online ed.).
518:melodic minor scale
510:natural minor scale
476:"). All these lack
472:VII (The verse of "
206:as the name of the
33:natural minor scale
1551:Harmonic major (I)
1523:Harmonic minor (I)
563:In the Air Tonight
553:Losing My Religion
490:circle progression
350:
150:in several modes.
1587:
1586:
1334:
1333:
1163:Richard Middleton
1137:978-0-19-517067-2
1121:978-1-56159-239-5
1113:978-0-333-60800-5
1063:978-0-19-517067-2
1047:978-1-56159-239-5
1039:978-0-333-60800-5
956:978-0-19-517067-2
940:978-1-56159-239-5
932:978-0-333-60800-5
895:978-0-19-517067-2
879:978-1-56159-239-5
871:978-0-333-60800-5
831:978-0-19-517067-2
815:978-1-56159-239-5
807:978-0-333-60800-5
757:978-3-476-41000-9
741:978-3-7618-1101-6
711:(Subscription or
638:(or mode mixture)
583:Isn't It Midnight
361:chord progression
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214:as its dominant,
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31:also called the
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743:(Bärenreiter);
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623:Californication
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1515:Harmonic minor
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1497:
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1475:Dorian ♭2 (II)
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1465:Jazz minor (I)
1461:
1459:
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1428:Mixolydian (V)
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1418:Phrygian (III)
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486:perfect fourth
466:III–IV, I–IV,
439:Roman numerals
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232:perfect fourth
181:Guido d'Arezzo
155:Heinrich Petri
124:octave species
97:ancient Greece
68:
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39:consists of a
29:diatonic scale
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1403:natural major
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1381:Reciting tone
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779:Stanley Sadie
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765:3-476-41000-5
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749:3-7618-1101-2
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579:Fleetwood Mac
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524:as required.
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482:rewrite rules
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475:
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432:
424:For example,
422:
420:
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404:
382:
378:
374:
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369:natural minor
366:
363:created from
362:
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338:
337:Picardy third
333:
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297:
271:
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236:perfect fifth
233:
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212:perfect fifth
209:
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186:
182:
178:
168:
164:
163:Dodecachordon
160:
156:
151:
137:
133:
129:
128:musical modes
125:
122:
118:
114:
110:
106:
102:
98:
94:
90:
86:
82:
78:
74:
57:
47:
46:
45:
42:
38:
37:interval form
34:
30:
26:
22:
1579:Oriental (V)
1433:Aeolian (VI)
1432:
1355:
1316:Hypophrygian
1194:
1189:Gary Ewer, "
1166:
1144:
1088:
1083:
1075:
1070:
1014:
1009:
1001:
998:John Tyrrell
989:
984:
977:John Tyrrell
968:
963:
907:
902:
846:
783:John Tyrrell
777:, edited by
772:
726:
721:
698:
687:
665:Natabhairavi
569:Alter Bridge
559:Phil Collins
507:
474:I'm Your Man
443:
423:
419:mode mixture
411:leading-tone
389:III, iv, v,
381:minor thirds
352:
351:
328:
293:
267:
249:division of
240:
223:
219:
207:
203:
195:Pietro Aaron
184:
162:
152:
144:instead of B
108:
93:music theory
80:
76:
72:
70:
40:
25:musical mode
21:Aeolian mode
20:
18:
16:Musical mode
1423:Lydian (IV)
1413:Dorian (II)
1371:Hypolocrian
1361:Hypoaeolian
1213:at GOSK.com
767:(Metzler);
759:(Metzler);
647:Minor scale
529:Traditional
441:for seven.
435:major chord
228:minor third
224:Hypoaeolian
105:Aristoxenus
103:) for what
1457:Jazz minor
1399:Ionian (I)
1376:Pentatonic
1351:Hypoionian
1321:Hypolydian
1311:Hypodorian
1293:Mixolydian
715:required.)
679:References
603:White Flag
589:Pink Floyd
407:diminished
296:submediant
255:homophonic
238:above it.
185:Micrologus
157:published
113:Hypodorian
89:Asia Minor
1270:Authentic
1261:Gregorian
694:"Aeolian"
669:melakarta
609:Radiohead
573:Blackbird
539:Bob Dylan
514:minor-key
401:VII. The
278:3, 4, 5,
259:polyphony
153:In 1547,
132:authentic
101:Cleonides
91:. In the
81:harmoniai
71:The word
1594:Category
1391:Diatonic
1283:Phrygian
630:See also
520:and the
494:Schenker
469:♭
463:♭
453:♭
447:♭
428:♭
398:♭
395:VI, and
392:♭
386:♭
287:♭
281:♭
275:♭
190:♮
172:♮
167:diatonic
147:♮
141:♭
121:diatonic
1366:Locrian
1356:Aeolian
1131:(set);
1057:(set);
950:(set);
889:(set);
825:(set);
652:Asavari
415:major V
357:harmony
300:C major
263:A minor
204:Aeolian
177:Hucbald
73:Aeolian
67:History
1346:Ionian
1303:Plagal
1288:Lydian
1278:Dorian
1173:
1139:(set).
1135:
1127:
1119:
1111:
1103:
1095:
1065:(set).
1061:
1053:
1045:
1037:
1029:
1021:
958:(set).
954:
946:
938:
930:
922:
914:
897:(set).
893:
885:
877:
869:
861:
853:
833:(set).
829:
821:
813:
805:
797:
789:
763:
755:
747:
739:
549:R.E.M.
488:, see
409:. The
373:triads
365:chords
272:1, 2,
200:Dorian
136:plagal
85:Aeolis
1339:Other
709:
671:) in
658:) in
656:thaat
498:tonic
433:is a
403:scale
377:major
253:, as
247:major
243:minor
220:tenor
218:, or
109:tonos
77:tonoi
23:is a
1439:and
1405:and
1171:ISBN
1133:ISBN
1125:ISBN
1117:ISBN
1109:ISBN
1101:ISBN
1093:ISBN
1059:ISBN
1051:ISBN
1043:ISBN
1035:ISBN
1027:ISBN
1019:ISBN
996:and
975:and
952:ISBN
944:ISBN
936:ISBN
928:ISBN
920:ISBN
912:ISBN
891:ISBN
883:ISBN
875:ISBN
867:ISBN
859:ISBN
851:ISBN
827:ISBN
819:ISBN
811:ISBN
803:ISBN
795:ISBN
787:ISBN
781:and
761:ISBN
753:ISBN
745:ISBN
737:ISBN
599:Dido
450:VII–
413:and
290:7, 8
134:and
79:and
19:The
1193:",
621:– "
611:– "
601:– "
591:– "
581:– "
571:– "
561:– "
551:– "
541:– "
531:– "
431:VII
379:or
359:or
355:is
284:6,
208:new
161:'s
95:of
1596::
1182:^
1165:,
1153:^
1123:;
1115:;
1107:;
1099:;
1049:;
1041:;
1033:;
1025:;
942:;
934:;
926:;
918:;
881:;
873:;
865:;
857:;
838:^
817:;
809:;
801:;
793:;
697:.
421:.
302:.
1496:)
1492:(
1471:)
1467:(
1443:)
1435:(
1409:)
1401:(
1245:e
1238:t
1231:v
1177:.
707:.
625:"
615:"
605:"
595:"
585:"
575:"
565:"
555:"
545:"
535:"
316:.
245:/
58:.
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