DESCRIPTION:
A short guitar improvisation over a C AEOLIAN VAMP, after you can practice over the backing track. ( sorry there is a fault in the video, I writed "eolian"... because in France we can say "EOLIEN".... )

Here is the sixth video of a long serie about musical modes.
I have always been passionate about music and a few weeks ago I had fun to identify all musical modes and scales used in the world.
There are about a hundred.
I had fun doing backing track with modals vamp to practice all this material.
I did everything in C to really hear the difference between each.
A friend advised me to make videos to share the results of my research with others it might interest.

C AEOLIAN:
It's just C MINOR NATURAL scale
C-D-Eb-F-G-Ab-Bb
- Root
- second
- minor third
- fourth
- fifth
- minor sixt
- seventh ( in france we say minor seventh )

You can use this mode over a Cm,Cm7, Cm79, chords,
a C AEOLIAN vamp....

In my improvisation i try to play in a " modal approach ".
I try to play in """""jeff beck style""""" to change....
It's the first take i do, there are imperfections but it was spontaneous.

I hope you'll enjoy this video and you'll have fun practicing with. :-)

The word "Aeolian" in the music theory of ancient Greece was an alternative name (used by some later writers, such as Cleonides) for what Aristoxenus called the Low Lydian tonos (in the sense of a particular overall pitching of the musical system—not a scale), nine semitones higher than the lowest "position of the voice", which was called Hypodorian.] In the mid-16th century, this name was given by Heinrich Glarean to his newly defined ninth mode, with the diatonic octave species of the natural notes extending one octave from A to A—corresponding to the modern natural minor scale. Up until this time, chant theory recognized eight musical modes: the relative natural scales in D, E, F and G, each with their authentic and plagal counterparts, and with the option of B-flat instead of B-natural in several modes.

In 1547 Heinrich Glarean published his Dodecachordon. His premise had as its central idea the existence of twelve diatonic modes rather than eight, including a separate pair of modes each on the finals A and C. Finals on these notes, as well as on B♮, had been recognized in chant theory at least since Hucbald in the early tenth century, but they were regarded as merely transpositions from the regular finals a fifth lower. 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] In 1525, Pietro Aaron was the first theorist to explain polyphonic modal usage in terms of the eightfold system, including these transpositions. As late as 1581, Illuminato Aiguino da Brescia published the most elaborate theory defending the eightfold system for polyphonic music against Glarean's innovations, in which he regarded the traditional plainchant modes 1 and 2 (Dorian and Hypodorian) at the affinal position (that is, with their finals on A instead of D) as a composite of species from two modes, which he described as "mixed modes." Glarean added Aeolian as the name of the new ninth mode: the relative natural mode in A with the perfect fifth as its dominant, reciting note or tenor. The tenth mode, the plagal version of the Aeolian mode, Glarean called Hypoaeolian ("under Aeolian"), based on the same relative scale, but with the minor third as its tenor, and having a melodic range from a perfect fourth below the tonic to a perfect fifth above it.

Although scholars for the past three centuries have regarded the modes added by Glarean as the basis of the minor/major division of classical European music, as homophonic music replaced Renaissance polyphony, this is an oversimplification. Even the key of A minor is as closely related to the old transposed modes 1 and 2 (Dorian and Hypodorian) with finals on A—as well as to mode 3 (Phrygian)—as it is to Glarean's Aeolian.

THE BACKING TRACK:
I play all instruments on the backing track and i've programed the drums.
I tried to create a backing track with a bass riff,arpegios with a keyboard to bring out the color of the mode.
I hope that this exercise will help you to better hear the AEOLIAN mode.

I think it is very difficult to describe a color with words:
For example, try to describe the color red with words ...
very difficult ... it's better to show ...

It is the same thing with the musical modes

GEAR:
- Fender Tecaster US
- Fender deluxe reverb modified
- OCD Fulltone
- Flashback delay
- Electro Harmonix Holy grail Nano


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