Dorian Mode on Guitar

Dorian mode intervals

1 W 2 H b3 W 4 W 5 W 6 H b7 W 1
Hear the Dorian Mode

Don't know what the W's and H's mean? If so, take the intervals lesson here before you go on.

So we can see that Dorian has a flat 3rd and flat 7th.

The flat 3rd creates a minor 3rd interval between the root (1st) and 3rd note. Why do we say it's flat? Because it has been lowered from its natural position in the Ionian/major scale by a half step, the equivalent of one fret.

The flat 7th, just like the flat 3rd, is so-called because it has been lowered by a half step from its natural, major 7th position in Ionian. Everything is notated against Ionian's original positions.

Just like in the Ionian lesson, let's listen to a few key interval movements so we can get our ears accustomed to Dorian's sound.

In each of the examples below, I'm using the key of A followed by B and finally C#. You don't need to pick up your guitar yet, just get to know the interval sounds. If you want, however, you can use just a single string to map out the intervals and get to know them. For example, use the open G string and map out the half steps and whole steps along that one string.

Root-3rd-Root interval: Click to hear

The minor 3rd is what gives Dorian its minor flavour. Hear how, although I change the key of the interval, the interval sound/flavour is identical.

Root-3rd-5th-7th-6th-4th-Root interval: Click to hear

Dorian's use of the 6th in addition to the minor 3rd flavour gives it a unique character, which most musicians identify as a "jazz flavour". Soon, you'll be able to experiment with this 6th and see how it adds to the depth of minor chords.

As with Ionian, the root defines the key you're playing Dorian in. So, if the root note lied on note C# (C sharp), the scale would be C# Dorian.

Dorian mode on guitar

In each of these mode lessons we're first looking at the "boxed" shapes, where the scale pattern spans just 4 or 5 frets. Here's the boxed pattern for Dorian on guitar:

So there we have the 7 tones of Dorian mapped out across 6 strings, spanning over 2 octaves. This kind of boxed pattern allows us to skip around the notes of the scale without too much movement. Eventually, you'll want to break out of that box to play right across the fretboard, but for now let's keep things simple.

Try the intervals from earlier over this boxed pattern. Use the diagram below for fingering reference.

There's a step in the pattern at the 6th interval which means you'll need to think about your finger position. For example, if you're moving from A string 4th to D string 6th, you might need to adjust the fingering above so you're not using the same finger for two consecutive notes/strings in a sequence.

Playing the Dorian mode over chords

Dorian is based on the minor triad - root (1st), flat 3rd and 5th. Strip the Dorian boxed scale above to its minor bones and this is what we're left with...

Playing around with just those tones will build up the picture of a minor chord and can be used as a minor arpeggio when you come to use them.

All the remaining notes are simply extensions of that basic minor triad - the addition of the 4th, 6th, flat 7th and 9th. The addition of the flat 7th creates the flavour of a minor 7th chord.

With Dorian, the 6th is the only real "tension" note. You can hear this when the 6th is held over a minor chord.

Hear the 6th being held over a minor chord

As mentioned earlier, jazz makes common use of this Dorian mode 6th over minor chords. The tension of the 6th is not so great that you can't hold it for lengthy periods (unlike the 4th in Ionian), but it is often used as a passing tone (a note used as a bridge between 2 stable tones in the scale).

Personally, I think the 6th can sound great as a landing note. This means you would apply the 6th when changing chord back to minor.

So the 6th has a dual personality, as both a passing tone and held tension, so you need to get to know it well and experiment with applying it in different contexts. It's up to you!

Dorian mode backing tracks

Experiment with Dorian over the D minor backing tracks below. Based on what we've learned in this lesson, try different interval movements and using the 4th as a passing tone. Try using different landing notes of Dorian to bring out its flavour.

First, let's get to know how each of the notes of Dorian add to a basic minor backing chord. Use the D minor backing track below to identify the sound each of the tones in Dorian produces.

Download the Dm7 backing track

Dorian can also be played over chord changes. In the next backing track, we're going to highlight the D minor chord in exactly the same way, but this time in a larger progression with other chords.

So, at this stage, you simply identify the chord you want to highlight using the Dorian mode, which is in this case D minor, and use the other chords as a journey between. In other words, D minor is "home" and the other chords provide some movement to enhance the return "home". Dorian can be used to add more depth and meaning to that return home.

However, in this example, D Dorian will still work over the other chords, because they are part of the same modal scale. More on this in another lesson, but for now, just focus on highlighting the D minor chord with Dorian. Lead up to it using phrases through the other chord changes. Experimenting with landing notes on D minor are what's important here.

Remember, we're in the key of D minor so we need the root note of Dorian positioned on D. On the low E string root note, that's fret 10.

Acoustic track (Dm Em Dm G7) - download

                Fret 10