Break Away from the Minor Pentatonic Boxes with the Dorian Mode

Video Cliffs:

0:00 – Intro Demo

1:45 – Lesson Introduction

4:32 – Treat the Dorian Mode as its’ own Unique Scale

8:30 – Aeolian vs. Dorian vs. Phrygian

Relevant Lessons:

Extra Stuff for Full Access Members! In addition to everything else that is included with a Full Access Membership, many lessons include “Full Access Extras”.

Full Access Member “Video Backing Tracks” for this lesson: 2 Video Backing Tracks using the same rhythm track as in the demo from this lesson

Each video is over 9 1/2 minutes long with one containing a full fretboard diagram of the Dorian mode “scale combined” with the minor pentatonic scale. The second video adds the “blue note” to this scale combined diagram.

The “home box” (aka. Pentatonic Position #1) is circled in both videos so you always have a reference point to fall back on.

Adding in Those Extra “Color Notes”

When you are soloing over a bluesy type progression such as a I – IV – V, 12-bar blues progression, the first place you probably look to is the pentatonic scale.

When jamming over a 12-bar blues progression, you can choose either the minor pentatonic scale or major pentatonic scale, depending on the type of sound you are going for.

For the purposes of this lesson, we will just go with the minor pentatonic…

Looking at the A minor pentatonic scale in the key of A in just one position, you have:

A Minor Pentatonic Scale (Position #1):

Now, you can go ahead and add some “color tones” to your playing by adding in the remaining notes to create the A Dorian Mode…

A Dorian Mode (Played in Pentatonic Position #1):

Note: Anytime I talk about the Dorian mode throughout this site, I use a brown dot to indicate the scale root.

This same concept can be spanned across the entire fretboard as well.

Here is a fretboard diagram of the A minor pentatonic scale spanning the entire fretboard…

The 5 Pentatonic Positions in the Key of A Minor:

You can go ahead and add in the extra “color notes” to these 5 pentatonic positions to create the A Dorian mode…

A Dorian Mode Spanning the Entire Fretboard:

As you can see the A minor pentatonic scale is contained within the A Dorian mode.

The notes of the A minor pentatonic scale are:

A Minor Pentatonic: A C D E G

And the notes of the A Dorian mode are:

A Dorian Mode: A B C D E F# G

The A minor pentatonic scale is just 5 of the 7 notes of the A Dorian mode. Those extra 2 notes are what I mean by “color notes”.

Treating “Modes” as Their own Unique Scales

I personally find that you get the most PRACTICAL use out of modes when you treat them as their own unique scales as opposed to relating them back to their parent major scale.

While it is useful to understand the theory behind where modes come from, it really doesn’t serve much practical use.

For instance, if you find yourself soloing over a sad ballad type progression in the key of A minor, you could always think to yourself “the A minor scale shares the same patterns as the C major scale”. However, that is really an unnecessary step. When you are improvising in the key of A minor, you should always be thinking of the note ‘A’ as your overall tonal center, not ‘C’.

Well, the same thing applies to modes. When you are soloing within the A Dorian mode, you should always be thinking about the note ‘A’ as your tonal center.

Why Choose the Dorian Mode to Get the Extra “Color Notes”?

As I teach in the Lead Guitar Improv Course, you can “combine” 3 different modes with the minor pentatonic scale:

Aeolian

Dorian

Phrygian

As you can see from these diagrams, the minor pentatonic scale is contained within each of these 3 modes, all sharing the same scale root ‘A’…

A Aeolian:

A Dorian:

A Phrygian:

Blues players generally choose the Dorian mode as the scale to “combine” with the minor pentatonic scale to get those extra color tones. However, try all 3 out for yourself over a backing track and see which one you like the best.

I personally find that Dorian provides the best “bluesy” type sound. Whereas, Aeolian works best for “Sad/Ballad” types of music, and Phrygian works best for “Exotic/Spanish” types of stuff.

This is just how I think of each mode in my own mind. It may be different for everyone. Of course try it for yourself so you can make the mental connections in your own mind.

That’s going to be it for today’s lesson. I will see you next time!

Have fun!