Aeolian mode
In the eleventh century, Guido d'Arezzo, in chapter 8 of his Micrologus, designated these transposed finals A, B♮, and C as "affinals", and later still the term "confinal" was used in the same way.[7] In 1525, Pietro Aaron was the first theorist to explain polyphonic modal usage in terms of the eightfold system, including these transpositions.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 blues minor pentatonic derived chord sequences such as I–♭III–IV, I–IV, ♭VII (The verse of "I'm Your Man").[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."
musical modediatonic scalenatural minor scaleinterval formAeolisAeolian IslandsAnatoliamusic theoryancient GreeceCleonidesAristoxenusHypodorianHeinrich Glareandiatonicoctave speciesmusical modesauthenticplagalHeinrich PetriHucbaldGuido d'ArezzoPietro AaronDorianperfect fifthreciting tone, reciting noteminor thirdperfect fourthclassical European musichomophonicpolyphonyA minorsubmediantC majorPicardy thirdharmonychord progressionchordsnatural minortriadsminor thirdsdiminishedleading-tonemajor Vmode mixture♭VIImajor chordRoman numeralsblues minor pentatonicI'm Your Manperfect cadencescircle progressionSchenkerminor-keyTraditionalGod Rest You Merry, GentlemenBob DylanAll Along the WatchtowerR.E.M.Losing My ReligionPhil CollinsIn the Air TonightAlter BridgeBlackbirdFleetwood MacIsn't It MidnightPink FloydShine on you Crazy DiamondWhite FlagRadioheadStreet SpiritRed Hot Chili PeppersCalifornicationBorrowed chordRelative minorMinor scaleAsavariHindustani musicNatabhairavimelakartaCarnatic musicOxford English DictionaryOxford University PressDie Musik in Geschichte und GegenwartLudwig FinscherThomas J. MathiesenThe New Grove Dictionary of Music and MusiciansStanley SadieJohn TyrrellRichard MiddletonModes in Western musicGregorianPhrygianLydianMixolydianHypophrygianHypolydianHypomixolydianIonianHypoionianHypoaeolianLocrianHypolocrianPentatonicReciting toneIonian (I)Dorian (II)Phrygian (III)Lydian (IV)Mixolydian (V)Locrian (VII)Jazz minorJazz minor (I)ascending melodic minorDorian ♭2 (II)Lydian augmented (III)Acoustic (IV)Aeolian dominant (V)descending melodic majorHalf diminished (VI)Altered (VII)Harmonic minorHarmonic minor (I)Ukrainian Dorian (IV)Phrygian dominant (V)Harmonic majorHarmonic major (I)