Mode	Tonic relative to major scale	Interval sequence	Example
Ionian	I	W-W-H-W-W-W-H	C-D-E-F-G-A-B-C
Dorian	II	W-H-W-W-W-H-W	D-E-F-G-A-B-C-D
Phrygian	III	H-W-W-W-H-W-W	E-F-G-A-B-C-D-E
Lydian	IV	W-W-W-H-W-W-H	F-G-A-B-C-D-E-F
Mixolydian	V	W-W-H-W-W-H-W	G-A-B-C-D-E-F-G
Aeolian	VI	W-H-W-W-H-W-W	A-B-C-D-E-F-G-A
Locrian	VII	H-W-W-H-W-W-W	B-C-D-E-F-G-A-B

Source: Mode (music) – Wikipedia

E minor is a minor scale based on E, consisting of the pitches E, F♯, G, A, B, C, and D. Its key signature has one sharp. Its relative major is G major and its parallel major is E major.

The E natural minor scale is:

Source: E minor – Wikipedia

Source: A minor – Wikipedia

Tempo rubato ([ˈtɛmpo ruˈbaːto]; “free in the presentation”, Italian for “stolen time”) is a musical term referring to expressive and rhythmic freedom by a slight speeding up and then slowing down of the tempo of a piece at the discretion of the soloist or the conductor. Rubato is an expressive shaping of music that is a part of phrasing.^[1]

While rubato is often loosely taken to mean playing with expressive and rhythmic freedom, it was traditionally used specifically in the context of expression by speeding up and then slowing down the tempo. In the past, expressive and free playing (beyond only rubato) was often associated with the terms “ad libitum.” Rubato, even when not notated, is often used liberally by musicians; e.g. singers frequently use it intuitively to let the tempo of the melody expressively shift slightly and freely above that of the accompaniment. This intuitive shifting leads to rubato’s main effect: to make music sound expressive and natural. Frédéric Chopin is often mentioned in context with rubato (see Chopin’s technique and performance style).

Source: Tempo rubato – Wikipedia

The Firebird (French: L’Oiseau de feu; Russian: Жар-птица, translit. Zhar-ptitsa) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of Sergei Diaghilev‘s Ballets Russes company; the original choreography was by Michel Fokine, with a scenario by Alexandre Benois and Fokine based on the Russian fairy tales of the Firebird and the blessing and curse it possesses for its owner. When first performed at the Opéra de Paris on 25 June 1910, the work was an instant success with both audience and critics.

The ballet has historic significance not only as Stravinsky’s breakthrough piece, but also as the beginning of the collaboration between Diaghilev and Stravinsky that would also produce the acclaimed ballets Petrushka (1911) and The Rite of Spring (1913).

Source: The Firebird – Wikipedia