Bob Leslie is an Independent Scottish Songwriter, Singer, and Recording Artist
Sixth child of a major parent …
The Aeolian mode is the one that is based on the 6th note of its parent major scale. If that pms is C, then we’re starting on A. Let’s see what that looks like over a couple of octaves:
A B C D E F G A B C D E F G A
Following our usual practice of checking out the I, IV, and V chords (because, between them, they cover all the notes), we obtain the following 3 chords:
A minor
D minor
E minor
……………………………………………………………..
“Hey!”, I hear you say. “Isn’t that just the key of A minor?”
Well, I suppose it is – in fact, it’s also known as the Natural Minor scale. However, in practice, A minor usually involves sharpening the 7th note to convert the E minor chord into E major so that we can have a nice, familiar perfect cadence of E (or, more usually, E7) resolving onto A minor.
Try playing a bit over Am, Dm, Em, and Am. Then do the same, but with an E7 instead of the Em. I bet the second one sounds more familiar to you.
……………………………………………………………..
Drama class …
So why use the pure Aeolian chords of Am, Dm, and Em? Well, the Western ear tends to associate minor chords and keys with sad, moody, or atmospheric contexts, so, 3 minor chords would seem to suit a deliberately atmospheric approach better than just 2.
Also, dropping down through the 7th and 6th chords (G major & F major) adds an extra layer of dramatic interest to the proceedings.
Here’s probably the world’s best example of that: All Along the Watchtower
That’s in C Aeolian, getting maximum use out of a Cm, Bb, Ab, Bb, Cm progression
Stretching D Aeolian to the max, we have The Police and Walking on the Moon.
And, in a folky context, here’s another: Ride On – with a very familiar
Cm, Ab, Bb, Cm pattern.
Meanwhile, using variants on a standard 3-chord
E Aeolian base of Em, Am, and Bm, we have the Doors classic Riders on the Storm
And here are a couple of variations on a theme: John Martyn’s original of his song Don’t Want to Know – using chords Dm, Bb, and C – and Dr John’s take on the same song using Dm, Gm, and Am. Different strokes, but both of those are in D Aeolian.
……………………………………………………………..
Mix it up …
As with other modes and keys, you don’t have to stick to the one path in a song.
Things We Said Today by the Beatles has a verse in A Aeolian and a bridge in A major (with a quick modulation to E major, then returning to A major). Great song, but you would think the re-mastered version would have ironed out the bum notes!
And it’s very common for leadplayers to switch the changes on Aeolian, Melodic minor, and Major all within a solo, or play a riff in one, and the verse/chorus in another.
That’s worth thinking about when writing – maybe have some part of a hook section, say the main riff, or a chorus, in Aeolian, and change to a straight major key for the rest – or, indeed, vice versa!
……………………………………………………………..
Next time, we’ll investigate the strange world of Locrian mode – when your base chord is diminished, then you’re really thinking outside the box!
……………………………………………………………..
Click for NEXT page!
……………………………………………………………..
Click here to return to Home page
Bob Leslie – Scottish – Traditional – Songwriter
Bob Leslie 