Part VI: Common
Modulations of Aeolian and Ionian
If you have studied music in the past, you will
definitely know of two very common forms of Aeolian (natural minor):
Harmonic minor and melodic minor. I will only introduce their
construction in this lesson. It will not until later lessons that their
full function will be understood.
Recall that natural minor is simply the minor scale: A B
C D E F G A, without any modulations or changes at all. The two
modulations of harmonic minor occur when a scale degree is altered.
Harmonic minor
is a modulation
of the minor scale which occurs when the 7th degree of the
scale is raised a half step. It adds what is called a harmonic, or tone
whose interval is 1½, or a minor third. It is that sound that gives
harmonic minor that beautiful Middle Eastern feel to it.
Like the Ionian system, the harmonic minor system has
modes as well. And again, like major, each mode has a different tonal
quality and sound to it that makes it unique. Note that in the
classification of the modes of harmonic minor you should know that the
names given vary from place to place and the names without parenthesis
are the ones I learned. The ones in parenthesis are other alternative
names I’ve learned and memorized from elsewhere (the ones in parenthesis
are just a few on many names used to refer to them). To be totally sure,
it’s probably best if you just refer to them as “Modes One through Seven
of Harmonic Minor”.
In addition you should be aware of the new tone that will
be introduces. In all of major, it was composed of only 1 and 2, half
step and whole step respectively. Harmonic minor has something special;
it has a minor third or one and one half step. This is simply
represented by a 3.
The routine is the same as always. The modes are
classified based on the circle of fifths/fourths. With all the
information we know, we can compile the list of modes and step
differences:
Mode |
Step Pattern |
Scale |
A
Harmonic Minor |
2122131 |
A B C
D E F G# A |
B
Locrian Natural 6 |
1221312 |
B C D
E F G# A B |
C
Ionian Augmented (Ionian # 5) |
2213121 |
C D E
F G# A B C |
D
Dorian # 4 |
2131212 |
D E F
G# A B C D |
E
Phrygian Natural 3 |
1312122 |
E F
G# A B C D E |
F
Lydian # 2 |
3121221 |
F G#
A B C D E F |
G#
Altered Dominant (Altered bb7) |
1212213 |
G# A
B C D E F G# |
Melodic Minor –
The second common
modulation of minor, this is found quite often in the Western music
system. In this case, you raise both the sixth and the seventh scale
degrees of the scale. This creates an unusual effect where the
pentachord is minor and the tetrachord is major. On the way down
however, the raised degrees are flatted back to their natural states,
thereby turning the descending scale in the natural minor scale.
In classical music theory you always play the natural minor scale
on the way down. This is not always followed in contemporary music.
Mode |
Step Pattern |
Scale |
A
Melodic Minor |
2122221 |
A B C D E F# G# A |
B
Dorian b2 |
1222212 |
B C D E F# G# A
B |
C
Lydian Augmented (Lydian # 5) |
2222121 |
C D E F# G# A B C |
D
Lydian Dominant (Lydian b7) |
2221212 |
D E F# G# A B C D |
E
Mixolydian b6 |
2212122 |
E F# G# A B C D E |
F#
Locrian Natural 2 |
2121222 |
F# G# A B C D E F |
G#
Super Locrian |
1212222 |
G# A B C D E F# G# |
An Ionian Modulation:
It’s quite possible you’ve never heard of the Ionian
modulations. Well they are very uncommon in the Western music system. In
Jazz however and in ethnic music, these scales may be used quite often.
Harmonic Major
– This scale I feel is one quite interesting. It’s composed of half
major and half harmonic (as the name implies). However, I do not always
like using this scale because I feel the “harmonic” Middle Eastern type
of sound to the scale actually works better with a dark mode like minor.
Major is too “upbeat” to go with a harmonic. It’s almost misleading
because you expect it (especially noticeable on the way down) to have a
dark tone to compliment the harmonic but it suddenly changes mood. This
scale is derived by modulating the Ionian scale. Simply flat the 6th
degree. Note that this is NOT the same as the third mode of harmonic
minor where you SHARP the fifth. The minor third occurs on the other side.
Mode to step difference comparison:
Mode |
Step Pattern |
Scale |
C
Harmonic Major |
2212131 |
C
D E F G Ab B C |
D
Dorian b5 |
2121312 |
D E F G Ab B C D |
E
Phrygian b4 |
1213122 |
E
F G Ab B C D E |
F
Lydian b3 |
2131221 |
F G Ab B C D E F |
G
Dominant b2 |
1312212 |
G Ab B C D E F G |
Ab
Lydian Augmented #2 |
3122121 |
Ab B C D E F G Ab |
B
Locrian bb7 |
1221213 |
B C D E F G Ab B |
The four scale
systems above, the Ionian System (Major), The Aeolian System (Minor),
the Harmonic Minor System (Minor Modulation), and the Melodic Minor
System (Minor Modulation) are the only ones commonly used in classical
Western theory. While the Harmonic Major System (Ionian Modulation) is
very uncommon outside of jazz, I felt it was important to put here as a
comparison to the other related systems.
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