The Aeolian Mode: A Complete Guide (Natural Minor Scale)
The Aeolian mode is the 6th mode of the major scale and a recognisable sound in Western music. It is also known as the natural minor scale, making it a widely used tonal palette across genres — from classical and folk traditions to film scores, jazz, rock, and contemporary improvisation.
In this article, I’ll explore the structure, sound, emotional character, stylistic uses, and how Aeolian differs from harmonic and melodic minor. I’ll also include a full table of all 12 Aeolian modes with note names and parent major scales.
What Is the Aeolian Mode?
The Aeolian mode is built from the 6th degree of its parent major scale.
For example:
• C major → start on A → A Aeolian (A natural minor)
• G major → start on E → E Aeolian (E natural minor)
If you already know how to work out relative minors, this is the same process — the Aeolian mode is the natural minor.
Scale Formula
Tone – Semitone – Tone – Tone – Semitone – Tone – Tone
(T–S–T–T–S–T–T)
Scale Degrees
1 2 ♭3 4 5 ♭6 ♭7
Emotional Character
Aeolian has a melancholy, elegiac, introspective quality.
It is expressive and emotive, but without the strong gravitational pull found in the harmonic minor (with its raised 7th — the leading note that strongly pulls towards the tonic) or the brighter contours of the melodic minor. Aeolian often creates a sense of openness (or conversely — inward turning), reflection, or quiet sadness — a minor key without urgency. It tends to linger, not drive.
Where Is the Aeolian Mode Found?
Folk Music
Aeolian is extremely common in folk traditions across Europe and beyond. Many folk melodies naturally use the flat 6 and flat 7, giving them that characteristic wistful or earthy quality. The mode’s smooth contours lends itself to lyrical melodies.
Pop and Rock
Very common, especially in music with a reflective or moody atmosphere. Examples range from early modal folk-rock to modern singer-songwriter material.
Jazz
Jazz musicians use Aeolian in modal improvisation, especially over minor chords without a leading note (e.g., m7, m9, m11). It is especially useful when you want a minor colour that avoids the harmonic tension of the leading note or the raised 6/7 of melodic minor.
Film and Video Game Music
Film composers use Aeolian frequently to evoke atmosphere, landscape, nostalgia, quiet intensity, longing, and more.
Renaissance Music
Aeolian appears a little in late Renaissance theory, but it became far more widespread after the publication of Dodecachordon in 1547, which formally added Aeolian and Ionian and their plagal forms to the existing system of church modes. Earlier medieval and Renaissance music used a different mode framework based on eight modes, so Aeolian was not part of the original set. After Glarean (Heinrich Glarean, a music theorist), Aeolian became established as one of the seven diatonic modes derived from the major scale — specifically, the 6th mode of the major scale.
The Aeolian Mode in All 12 Keys
Table: Aeolian Mode Note Names and Parent Major Scales With Enharmonic Equivalents Where Relevant
| Aeolian Mode | Notes | Parent Major Scale |
| A Aeolian | A – B – C – D – E – F – G | C major |
| B♭ Aeolian | Bb – C – Db – Eb – F – Gb – Ab | Db major |
| B Aeolian | B – C♯ – D – E – F♯ – G – A | D major |
| C Aeolian | C – D – Eb – F – G – Ab – Bb | Eb major |
| C♯ | C♯ – D♯ – E – F♯ – G♯ – A – B | E major |
| D Aeolian | D – E – F – G – A – Bb – C | F major |
| D♯ / E♭ Aeolian | D♯ – E♯ – F♯ – G♯ – A♯ – B – C♯ (or Eb – F – Gb – Ab – Bb – Cb – Db) | F♯ major (or Gb major) |
| E Aeolian | E – F♯ – G – A – B – C – D | G major |
| F Aeolian | F – G – Ab – Bb – C – Db – Eb | Ab major |
| F♯ Aeolian | F♯ – G♯ – A – B – C♯ – D – E | A major |
| G Aeolian | G – A – Bb – C – D – Eb – F | Bb major |
| G♯ Aeolian | G♯ – A♯ – B – C♯ – D♯ – E – F♯ | B major |
Chord Progressions in Aeolian
Primary chords
• i (minor)
• iv (minor)
• v (minor — no leading tone)
Possible Aeolian progressions
• i – VII – VI – VII
• i – VI – VII – i
• i – iv – VII – III
• i – iv – i – VII
These progressions avoid the raised 7th, preserving the mode’s natural, unresolved quality. These are just some progressions I have liked experimenting with myself. You might like to experiment with other chords found within the mode.
Examples from My Own Improvisations
I personally love improvising in the Aeolian mode, and recently it has taken me to places I didn’t expect to go. Despite its elegy-like, melancholy quality, the major triads found within it (e.g. VI and VII) can momentarily brighten the sound, lending a bittersweet quality. Sometimes it seems to give me a means to convey introspection, and inward searching. I never know how an improvisation is going to turn out, until it is done and recorded. Here are some examples:
How Aeolian Differs from Other Minor Options
Aeolian vs Harmonic Minor
Harmonic minor raises the 7th, creating a leading note — producing:
• strong pull to the tonic
• classical resolution patterns
• the V–I relationship (with chord V being major)
Aeolian avoids that tension and strong resolution.
Aeolian vs Melodic Minor
Melodic minor raises the 6th and 7th ascending to avoid awkward melodic leaps.
Aeolian keeps both lowered → more modal and ambiguous.
Learn about harmonic and melodic minor scales here
