GUITAR SOLOING #013 - Soloing with Dorian Mode

November 24, 2017:
Lesson 013 - Soloing with Dorian Mode

Dorian mode is one of the most common colors of the minor modal sounds. It can be applied over any minor tonality situation that establishes the use of a "Major 6th" interval from the tonic of the scale... 

Lesson 013 explores this... 

Dorian mode scale phrases, chord progressions and modal riffs will take advantage of the unique sound that Dorian's raised 6th interval offers. Each example throughout this Guitar Soloing lesson will make detailed reference to the various ways which the "6th" is applied.

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PART ONE:  In example one, an upper-string chord progression follows above an underlying open "A" 5th string. It is accompanied by a melody line that is built from the "A" Dorian mode. In example 1a, I've composed a 2-bar progression that can learned and then recorded for jamming over. In example 1b, I've included a line to fit with the jam that is composed from the "A Dorian" mode.

Example two moves away from the bass-note drone approach (used in example one), and switches to spreading the color of this mode through its unique Major 6th interval. The second example progression focuses specifically upon two chords. They are the "Dominant IV-chord" and the "Minor 9th V-chord." These chord qualities and extensions promote the color of the "Major 6th" in the minor tonality. 

In example three, the focus is on the three primary color-tones associated to the application of Dorian for both harmonies and melodies. These include; "Minor 3rd," "Major 6th," and "Minor 7th." In Dorian mode progressions and single-note melody lines, these three tones work together to establish the sound of the minor character for performing Dorian mode.

Example four, covers the unique application that the Dorian mode can provide over, "Non-Diatonic" minor chords. Many chord progressions in Soul music, Jazz, or Fusion will introduce chords that do not relate to the overall key center. 

These chords are often called, "Non-Functioning," or "Non-Diatonic." These chords do not fit into the key. When these chords are either "Minor" triads, or "Minor 7th" quality, they can be covered by using the "Dorian Mode."

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The chord progression in example four is in the tonality of, "C Minor." The first two measures (Cm7, F7), can be covered using the, "C Dorian," mode. However, the "Em6" chord in measure three is non-functioning to the established key center. It can however be covered by using "E Dorian." To play over the final chord in measure four, use "Eb Major" scale, "Eb Major Pentatonic," or "Ebmaj7" arpeggio

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