From A to A: …produces the aeolian mode. This means that, yes, they have the same notes. Stuck between a rock and a hard place, as the ii(min7flat5) (Locrian chord) also wants to kick us out of modal harmony and send us to a tonal centre. This step shows the A scale degrees - Tonic, supertonic, mediant, subdominant, dominant, submediant, etc. Ionian Mode. For example, B-F is a tritone and F-B is a tritone. Let's look at it first in the key of C major. Of course it can be there, as G♯, but then we're not in Aeolian, we're in harmonic or melodic minor - different beasts. It’s equivalent to the first mode: Ionian. Middle C (midi note 60) is shown with an orange line under the 2nd note on the piano diagram. Is Locrian a minor mode or is it a diminished mode? It’s also called natural minor, because it’s a minor scale without the raised 6th degree or 7th degree of melodic or harmonic minor. Does all theory about functionality (aka tonic-dominant relationship etc) go out the window? This gives us the following intervallic series: w-w-h-w-w-h-w *w=whole step // h=half step* Once again, Aeolian, being the natural minor scale (the relative minor of Ionian), is a common scale (like Ionian) and thus is tough to characterize with one or two notes. As with all modal practice, I prefer the pedal point method. The following scales can be used over this chord: Notice that C Lydian Mode does not have any avoid notes. From F to F: …prod… Usage of "Salutation" vs "Form-of-Address". Baldwin Spinet 6 free video lessons to teach you chords so you can play popular songs! , but obviously the note names will be different for each mode / key combination. Stack Exchange network consists of 176 Q&A communities including Stack Overflow, the largest, most trusted online community for developers to learn, share their knowledge, and build their careers. This was a huge amount for a piano factory to control in the early 1900's. Let's take a look at what makes the Aeolian mode so unique. Aeolian mode. The modes that have a subtonic as the 7th note are dorian mode, phrygian mode, mixolydian mode, aeolian mode and the locrian mode. Now, as we've done in the past, let's build a seventh chord out of it. But we have not yet discussed which scale you should (generally) use over a particular chord. So, while you can use all the above modes over the Am7 in theory, because the Dorian and Aeolian modes have zero and one avoid notes respectively (rather than 2), most Jazz musicians play the Dorian or Aeolian modes over a m7 chord in practice. The Aeolian mode starts on the sixth scale degree of the major scale, and is also known as the natural minor scale. It looks like this, A, B, C, D, E, F, G,A. It changed hands 5 or 6 times in it's long interesting history. An avoid note is a note in a particular scale that clashes with a particular chord. The notes are in the same order as a C major scale, it's just that the start point is different. To get a good sense of how it sounds and makes you feel, try playing the white notes on a piano from A to A. The Aeolian Scale consists of the same notes as the Natural Minor Scale. So in conclusion, when selecting a scale to play over a chord, you should generally try to pick one which has as few avoid notes as possible. There were factories in New York, Paris, Berlin, London, Melbourne and Sydney. The Aeolian mode starts on the sixth scale degree of the major scale, and is also known as the natural minor scale. Why `bm` uparrow gives extra white space while `bm` downarrow does not? Now the Gibson Guitar company owns the name. Can someone explain why the leading tone is avoided? Although pianos were made and sold during the 1930's, sales dropped considerably and by the late 30's the player era was just about over. In a later step, if sharp or flat notes are used, the exact accidental names will be chosen. E flat major scale . These note names are shown below on the treble clef followed by the bass clef. Let me know what you come up with while writing with the Aeolian mode! We have already discussed why you can use different scales over the same chord in a previous lesson. Now, let’s look at the chord AmMaj7, where the 3rd and 7th are C and G# respectively. Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window). What makes the modes differ is not the order of notes, but the tonal center.