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Chapters |
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The Dorian Mode The Phrygian Mode The Lydian Mode The Mixolydian Mode The Aeolian Mode The Locrian Mode |
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Samples |
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| The Dorian Mode | |
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The second mode of the
Major Scale is called the Dorian Mode (1,2,b3,4,5,6,b7). This is one of
the most popular modes used for soloing in rock music - it is used more
often than the Natural Minor Scale. This mode can be viewed in two ways.
It can be looked at as a Major Scale with a lowered 3rd and 7th,
or a Natural Minor Scale with a raised 6th. As we learned
earlier, the lowered 3rd degree makes this a minor mode.
The Dorian Mode is played over minor chords or progressions. The most common chords would be Minor, Minor 7th, Minor 9th and Minor 11th. As with the Ionian mode, suspended chords such as the suspended 2nd and 4th can be used. It should be stated however that the Minor 13th chord contains the b6th that is somewhat dissonant in this context and is seldom used. Used over a Minor 7th chord, there are no notes to avoid. |
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The 10 Positions of D Dorian |
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| *** positions 9 & 10 continued in book. | |
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| D Dorian 3 Note Per String Pattern | |
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| D Dorian 4 Note Per String Pattern | |
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| D Dorian Full Scale Patterns | |
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| *** other dorian full scale patterns continued in book | |
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Exercises |
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| Practice the following exercises in all the 10 Positions, 3 and 4 Note Per String Patterns, and Full Scale patterns. I have included one fingering example for each exercise. | |
| Ex. 1 (All 10 Positions, 3 Note Per String, 4 Note Per String, Full Scale Patterns) | |
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| *** other dorian exercises continued in book | |
| Dorian Arpeggios | |
| The following Arpeggios can be played in the Dorian Mode. Again, you’ll notice that the scale degrees used in each arpeggio are derived from this mode. | |
| Minor (1,3,5) Minor 7th (1,b3,5,b7) Minor Major 6th (1,b3,5,6) | |
| Minor Add 2nd (1,2,b3,5) Minor Add 4th (1,b3,4,5) | |
| ***Arpeggios are taken from the Arpeggios Chapter in Section 1 | |
| Section 3 Samples | |
