Aeolian mode

A scale of A with no black keys is in the Aeolian mode.

The term derives from the fact that the Aeolian mode is rooted on the sixth step of the major scale.

It can also be the natural minor scale or Aeolian mode with raised third and lowered fifth intervals.

Aeolian mode as a scale is identical with the natural minor scale.

The melody of the chorus is written in transposed Aeolian mode or natural minor.

As often taught to classical musicians, the "natural minor scale" has the following form, corresponding to the Aeolian mode.

Using the minor (aeolian mode) one would have:

The natural minor scale is the same as the 6th mode (or Aeolian mode) of the major scale.

The Dorian mode is very similar to the modern natural minor scale (see Aeolian mode below).

All Aeolian modes are all-female.

The circle of fifths shows every major key with its corresponding minor key (of the Aeolian mode).

In the deep-toned Aeolian mode.

This facilitates playing the Aeolian mode (the natural minor scale), where the scale begins at the first fret.

The Aeolian mode is a musical mode or, in modern usage, a diatonic scale called the natural minor scale.

A delightful Celtic sounding tune in the key of E minor (Aeolian mode.)

Aeolian harmony is harmony or chord progression created from chords of the Aeolian mode.

The modern Dorian mode is equivalent to the natural minor scale (or the Aeolian mode) but with the sixth degree raised a half step.

Western music predominantly usually uses two scales: major and minor, which correspond to the Ionian and Aeolian modes.

The leading-tone and major V which contains it are also not used, as they are not part of the Aeolian mode (natural minor scale).

The song is a prominent example of mode mixture, specifically between the Aeolian mode, also known as natural minor, and the Dorian mode.

The female chorus, again singing from the galleries, employ Phrygian and Aeolian modes as they sing the roles of mothers seeking their missing sons.

C- C Aeolian mode (natural minor)

The tonus peregrinus (or ninth tone) is associated with the ninth mode or Aeolian mode.

His phrasing is atrocious," Meistersinger sang, in the difficult aeolian mode, "in the manner of the Crian peoples.

Twentieth-century hymnals generally present the hymn in Dorian mode, or sometimes in Aeolian mode but with a raised sixth.