Dorian/Aeolian Gapped Scales and Hybrids: Difference between revisions
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Link to '''Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs''' | Link to '''[[Ionian, Mixolydian, Dorian and Aeolian: Samples and Examples of the 4 Main Musical Scales in Celtic, Anglo-American and English Folk Songs|Samples and Examples of Modes in Folk Songs]]''' | ||
The Aeolian scale is the same as the Dorian scale except that the sixth note is flattened by a semitone. To convert a Dorian to an Aeolian key signature, add a flat to, or remove a sharp from, it. Likewise, to convert an Aeolian to a Dorian key signature, remove a flat from, or add a sharp to, it. The Dorian and Aeolian scales are thus quite similar to each other, and there are quite a few Dorian/Aeolian gapped scales and quite a few Dorian/Aeolian hybrids. Here are some examples. | The Aeolian scale is the same as the Dorian scale except that the sixth note is flattened by a semitone. To convert a Dorian to an Aeolian key signature, add a flat to, or remove a sharp from, it. Likewise, to convert an Aeolian to a Dorian key signature, remove a flat from, or add a sharp to, it. The Dorian and Aeolian scales are thus quite similar to each other, and there are quite a few Dorian/Aeolian gapped scales and quite a few Dorian/Aeolian hybrids. Here are some examples. | ||
'''04 Robin Hood and the Tanner''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'') | |||
Link: [[04_Robin_Hood_and_the_Tanner]] | |||
Tune Analysis: D Dorian key signature but one of the Bs (6th) is flattened to produce a Dorian/Aeolian hybrid. Heptatonic, Mainly Authentic but there is a C that dips below the keynote. | |||
'''06 Lord Bateman''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'') | |||
Link:[[06_Lord_Bateman]] | |||
Tune Analysis: G Aeolian key signature but no E (6th). Hexatonic G Dorian/G Aeolian gapped scale, Plagal. | |||
'''09 Geordie''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'') | |||
Link: [[09_Geordie]] | |||
Tune Analysis: A Aeolian key signature but no F (6th). Hexatonic G Dorian/G Aeolian gapped scale, Plagal. | |||
'''12 The Coasts of High Barbary''' (Cecil J. Sharp, 1916, ''One Hundred English Folk Songs'') | |||
Link: [[12_The_Coasts_of_High_Barbary]] | |||
Tune Analysis: E Aeolian key signature but no C (6th). Hexatonic E Dorian/E Aeolian gapped scale. Mainly Authentic but the pick up notes (anacrusis) and some Ds dip below the keynote. | |||
'''As I Roamed Out''' (GB/6a/5) | |||
Link: https://www.vwml.org/search?q=GB/6a/5&is=1# | |||
Tune Analysis: D Aeolian key signature but some of the Bbs (6ths) are naturalised to produce a Dorian/Aeolian hybrid. Heptatonic, Plagal. | |||
'''Basket of Eggs Version 2 of 2''' (GB/6a/18) | |||
Link: https://www.vwml.org/search?q=GB/6a/18&is=1# | |||
Tune Analysis: The key signature is E Aeolian but two of the Cs are sharpened to produce a Dorian/Aeolian hybrid. Heptatonic, Authentic. | |||
'''Cupid the Ploughboy Version 1 of 3''' (GB/6a/59) | |||
Link: https://www.vwml.org/search?q=GB/6a/59&is=1 | |||
Tune Analysis: G Aeolian key signature but scale is Hexatonic with no Es (6th). If the Es are presumed to be natural the scale is Dorian, if flattened Aeolian. Plagal. | |||
Latest revision as of 10:21, 7 February 2021
Link to Samples and Examples of Modes in Folk Songs
The Aeolian scale is the same as the Dorian scale except that the sixth note is flattened by a semitone. To convert a Dorian to an Aeolian key signature, add a flat to, or remove a sharp from, it. Likewise, to convert an Aeolian to a Dorian key signature, remove a flat from, or add a sharp to, it. The Dorian and Aeolian scales are thus quite similar to each other, and there are quite a few Dorian/Aeolian gapped scales and quite a few Dorian/Aeolian hybrids. Here are some examples.
04 Robin Hood and the Tanner (Cecil J. Sharp, 1916, One Hundred English Folk Songs)
Link: 04_Robin_Hood_and_the_Tanner
Tune Analysis: D Dorian key signature but one of the Bs (6th) is flattened to produce a Dorian/Aeolian hybrid. Heptatonic, Mainly Authentic but there is a C that dips below the keynote.
06 Lord Bateman (Cecil J. Sharp, 1916, One Hundred English Folk Songs)
Link:06_Lord_Bateman
Tune Analysis: G Aeolian key signature but no E (6th). Hexatonic G Dorian/G Aeolian gapped scale, Plagal.
09 Geordie (Cecil J. Sharp, 1916, One Hundred English Folk Songs)
Link: 09_Geordie
Tune Analysis: A Aeolian key signature but no F (6th). Hexatonic G Dorian/G Aeolian gapped scale, Plagal.
12 The Coasts of High Barbary (Cecil J. Sharp, 1916, One Hundred English Folk Songs)
Link: 12_The_Coasts_of_High_Barbary
Tune Analysis: E Aeolian key signature but no C (6th). Hexatonic E Dorian/E Aeolian gapped scale. Mainly Authentic but the pick up notes (anacrusis) and some Ds dip below the keynote.
As I Roamed Out (GB/6a/5)
Link: https://www.vwml.org/search?q=GB/6a/5&is=1#
Tune Analysis: D Aeolian key signature but some of the Bbs (6ths) are naturalised to produce a Dorian/Aeolian hybrid. Heptatonic, Plagal.
Basket of Eggs Version 2 of 2 (GB/6a/18)
Link: https://www.vwml.org/search?q=GB/6a/18&is=1#
Tune Analysis: The key signature is E Aeolian but two of the Cs are sharpened to produce a Dorian/Aeolian hybrid. Heptatonic, Authentic.
Cupid the Ploughboy Version 1 of 3 (GB/6a/59)
Link: https://www.vwml.org/search?q=GB/6a/59&is=1
Tune Analysis: G Aeolian key signature but scale is Hexatonic with no Es (6th). If the Es are presumed to be natural the scale is Dorian, if flattened Aeolian. Plagal.