In music, the sixth mode of the major scale, with the following half step/whole step progression: W-H-W-W-H-W-W.
Identical to the natural minor scale.
For example:
  • C Aeolian contains the notes C D Eb F G Ab Bb
  • A Aeolian contains the notes A B C D E F G
  • F# Aeolian contains the notes F# G# A B C# D E
Two ways of playing the G Aeolian scale in guitar tablature form:
Three notes per string:
e|--------------------------------5-6-8-|
B|--------------------------4-6-8-------|
G|--------------------3-5-7-------------|
D|--------------3-5-7-------------------|
A|--------3-5-6-------------------------|
E|--3-5-6-------------------------------|

Staying in (roughly) the same neck position:
e|------------------------------3-5-6---|
B|------------------------3-4-6---------|
G|------------------2-3-5---------------|
D|--------------3-5---------------------|
A|--------3-5-6-------------------------|
E|--3-5-6-------------------------------|
In geological terms, aeolian is an adjective denoting wind-action or air environments, as opposed to fluvial (river environments) or marine (oceanic environments). Desert sand dunes are an example of an aeolian environment which might be preserved in the geologic record.

Derived from the Greek god of the winds, Aeolus.

Also spelled eolian.

Chord Scale analysis of The Aeolian Mode

The Aeolian, or Natural Minor, is one of the most used scales in the history of western music. While learning music theory, people a generally taught that there are two types of scales, major and minor. Modes tends not to be touched upon all that much, which I think is sad, but whatever, I'm not a teacher (yet...). Anyways, the Aeolian Mode is pretty cut and dry, if your reading this, you probably already know how to use it, probably as the natural minor scale. It takes a minor seven chord, and is of the tonic verity, has 2 avoid notes, and sounds awfully nice, but rather pedestrian if not used inventively.

Analysis of A Aeolian

A (root)

B (Two, Major Second, Nine, Major Ninth)

C (Minor third, flat three)

D (perfect fourth, Scale four)

E (Five, Perfect Fifth)

F (Minor Sixth, Scale Flat Six)

G (Flat Seven, Minor Seventh)

Tonic Vs. Subdominant, a Fight to the Finish

I know, everyone out there is saying, "Yes, I know we should avoid the flat six so our nice Minor chord doesn't become a Major Seven sharp eleven, and to avoid the mind blending sound of the Malicious Flat Nine, but why, sweet Alvis why should we avoid the nice sound of a Minor Eleven?" Well, because I said so, you Kreb, and because of the Dorian Mode, which is a beautiful subdominant mode without any avoid notes. By voicing the Eleven in the chord, you completely change the feel of your chord from a tonic quality, to a subdominant quality.

Ae*o"li*an (#), a. [L. Aeolius, Gr. .]

1.

Of or pertaining to Aeolia or Aeolis, in Asia Minor, colonized by the Greeks, or to its inhabitants; aeolic; as, the Aeolian dialect.

2.

Pertaining to Aeolus, the mythic god of the winds; pertaining to, or produced by, the wind; aerial.

Viewless forms the aeolian organ play. Campbell.

 

© Webster 1913.

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