This is a 6-stringed instrument (three courses) meant to be held and played like a mandolin or banjo, rather than on the lap. It has a diatonic dulcimer fretboard and is tuned similarly to most dulcimers, D-A-D. The first and second strings are strung as one course, tuned in unison to D. It uses standard dulcimer strings. It is well-built, with full linings attaching top and back to sides, two crossbraces each on top and back, and an adjustable trussrod. The sound is bright, with plenty of volume despite its compact size. The tone is somewhat like a mandolin. It is about 25 inches long overall; the body is just over 7 inches wide.The I minor, bVII major, to I minor are very strong Aeolian progressions, as well as the I minor, bVI major, bVII major, to the I minor.
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1) The tonic note of the Aeolian mode must always be established. In other words, if we were analyzing a C Aeolian scale, the root note C must be voiced (established; played). It's always important to establish a tonal center with any mode.
The Aeolian Chords are: I minor, II diminished, bIII major, IV major, V minor (7), bVI major, and bVII major. There are typical and then, very strong Aeolian chord progressions. We'll examine both in this article.
1) I minor (C minor) progressing to the bVII major (Bb major), progressing to the I minor (C minor), progressing to the bVII major (Bb major), progressing to the bVI major (Ab), progressing to the bVII major (Bb), progressing to the I minor (C minor).
The Aeolian Mode is just one of the seven essential modes that every guitarist should have in his/her arsenal. Of course, the other modes are Dorian, Phrygian, Mixolydian, Lydian, Ionian, and Locrian. All of these are essential guitar scales that should be practiced daily.
The Aeolian Mode - Pure Minor At It's Very Best - Another Must Know For Evey Guitarist
keep in mind that, the actual theory involved here, ironically infers altered scale tones once we discuss key signatures other than the key of C major (key of no sharps). In the key of C major, half steps automatically occur between the 3rd and 4th degrees of the major scale, and then once again between the 7th and 8th degrees of the C major scale (no alterations are necessary). In every other key signature, the degrees of the scale must be altered (using sharp signs or flat signs) in order to create the specific formula needed (whole steps and half steps) to establish a major scale.
Once again, for purposes of this article we will be utilizing the C Aeolian Mode. By adding some difficulty, the learning process will be authentic. Therefore, prepare yourself for just a little confusion. However, with some concentration, any initial confusion should clear up shortly.
2) The third scale step must be used in order to establish the minor quality of the Aeolian Mode.
4) I minor (C minor) progressing to the bVII major (Bb), progressing to the IV minor (F minor), progressing to the I minor (C minor), progressing to the V minor (G minor), progressing to the I minor (C minor).
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5) I minor (C minor) progressing to the V minor (G minor), progressing to the I minor (C minor), progressing to the bIII major (Eb major), progressing to the IV minor (F minor), progressing to the I minor (C minor).
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It's helpful to think of the Aeolian Mode as being rooted on the sixth degree of the major scale. For example, the scale tones for the C major scale are C-D-E-F-G-A-B-C. Therefore, the Aeolian root note would be A (rooted on the sixth degree of the major scale). Thus, A-B-C-D-E-F-G-A (Aeolian). Do you notice that the tonic note is present? Do you notice that the distance between A and C is a minor third interval? Also the 6th and 7th degree scale tones are natural (no alterations). This is why I offered this particular example in the key of C major (key of no sharps, no flats). It's easier to keep track of the theory.
TYPICAL AEOLIAN PROGRESSIONS: study the following progressions and transfer them to your guitar.
The quality of the Aeolian Mode is minor (minor 3rd interval between the root note of the scale and it's 3rd). For purposes of application, the following elements apply:
NOTE: Do not emphasize the bIII major because it tends to suggest the I major chord in the actual key signature. This takes away from the Aeolian flavor.
It's best to think of using triads (three part chords) when engaging in an Aeolian progression. My personal students are taught how to extend all chords to their fullest diatonic range. This adds flavor to any progression but will, most likely, annoy the strict theorists. There's something to be said about Pop-Rock; we can get away with a lot of rule breaking and our audiences love it.
Thus far, we've established the tonic note, the minor 3rd, and the use of the natural 6th and 7th degree scale tones for the Aeolian mode. It's safe to say that Aeolian, at this point, has been born.
NOTE: Notice that we brought our listener back to the tonic I minor (C minor). It's very important to establish a tonal center.
2) I minor (C minor) progressing to the bVII major (Bb), progressing to the bVI major (Ab), progressing to the IV minor (F minor), progressing to the I minor (C minor).
The Aeolian mode (also known as the pure minor scale or Natural Minor), as a stand alone musical mode (scale), is absolutely beautiful in sound and structure. Personally, I believe the Aeolian Mode to be the center of the musical universe. I, among others, believe this to be true for many reasons. Therefore, several of these reasons will be discussed throughout this article. You then, the reader, can decide for yourself as to the importance you place on this particular mode.
3) Only the natural 6th and 7th degree scale tones (no alterations) be used to attain and preserve the Aeolian modal flavor or essence.
In the end, music is based on sound. All of the theory in the world is just theory unless analyzed, practiced, and implemented. The guitar is a wonderful instrument. We should all strive to continuously educate ourselves in order to unlock it's endless secrets.
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6) I minor (C minor) progressing to the IV minor (F minor), progressing to the bVII major (Bb), progressing to the bVI major (Ab), progressing to the I minor (C minor).
3) I minor (C minor) progressing to the bVI major (Ab), progressing to the IV minor (F minor), progressing to the V minor (G minor), progressing to the IV minor (F minor), progressing to the I minor (C minor).
