The Sounds Of The Dorian Mode, Learn the Chords, Scale, Triads and Arpeggios Built From Dorian Options

[Cosmin Lupu]

It all depends on how the progression is built - you have two options here:

If the chord changes are quick and you have a modal progression such as Am Dmaj (A dorian progression) you can use the A dorian mode over all the chords, making sure to emphasize the characteristic scale degree (F#) (remember our little discussion in the PM)

If each chord lasts for more bars and you have time, deploy a different mode over each chord - Am works well with A dorian and D major works well with D mixolydian as Marius suggested Make sure to emphasize the characteristic scale degrees if possible (F# for A dorian and a combo between F# and C on the D major chord- as these are the maj3rd and b7 of the D Mixolydian mode)

Hope I didn't complicate it too much for ya, so let us know how it goes and we'll help further

This post has been edited by Cosmin Lupu: May 17 2014, 08:26 AM

[tflava]

It all depends on how the progression is built - you have two options here:

If the chord changes are quick and you have a modal progression such as Am Dmaj (A dorian progression) you can use the A dorian mode over all the chords, making sure to emphasize the characteristic scale degree (F#) (remember our little discussion in the PM)

Yes man thats what i mean. That i can play a dorian over more chords that fitting in the scale, and that i don't need to move on with every chords.

And with the other modes i'm not starting yet. First this mode and the other theory and than further. Step by Step


Thanks.

Grtzz

[Cosmin Lupu]

Yes man thats what i mean. That i can play a dorian over more chords that fitting in the scale, and that i don't need to move on with every chords.

And with the other modes i'm not starting yet. First this mode and the other theory and than further. Step by Step


Thanks.

Grtzz

Try both approaches You will surely discover interesting stuff As I said, the progression usually dictates the outcome as it creates a proper environment for either one or both approaches.

[Jacob North]

C D Eb F G A Bb C
D E F G A B C D
E F# G A B C# D E
F G Ab Bb C D Eb F
G A Bb C D E F G
A B C D E F# G A
B C# D E F# G# A B
C# D# E F# G# A# B C
Eb F Gb Ab Bb C Db Eb
F# G# A B C# D# E F#
Ab Bb Cb Db Eb F Gb
Bb C Db Eb F G Ab

Is it correct?

[Cosmin Lupu]

C D Eb F G A Bb C
D E F G A B C D
E F# G A B C# D E
F G Ab Bb C D Eb F
G A Bb C D E F G
A B C D E F# G A
B C# D E F# G# A B
C# D# E F# G# A# B C
Eb F Gb Ab Bb C Db Eb
F# G# A B C# D# E F#
Ab Bb Cb Db Eb F Gb
Bb C Db Eb F G Ab

Is it correct?

That is correct mate - I followed the 1 2 b3 4 5 6 b7 formula from each tonality and it was correct

Now, you have discovered the notes making up the Dorian mode in all these keys - have you managed to grasp the sound of the Dorian mode? What dictates the characteristic sound of this mode?