When I started learning about different types of scales for jazz guitar, the dorian mode was one of the first things that popped up. No matter where I looked, people were saying this was one of the most important modes to learn.
And there were also mixed messages about how to play it – or even how I should be thinking about this scale. The explanations ranged from overly simple and obvious, to pretty complicated, with a lot more background theory knowledge required.
What I found over time was that there are actually 2 different common approaches to playing and thinking about the dorian mode.
They both work great, and they’re both “correct” in theory. It just depends on what works best for you, in your own head.
Once I figured this out, I had a much easier time learning the dorian mode and using it in my own playing. And I also had an easier time teaching it to my students – which is more important in the long run.
Let me show you what I found out – and see if it helps in your own jazz guitar playing.
What Is the Dorian Mode?
The dorian mode is a scale commonly used in jazz guitar, and it’s based on the structure of the major scale.
The dorian mode is built using a root (1), major second (2), minor or flat third (b3), a perfect fourth (4), a perfect fifth (5), a major sixth (6), and a minor or flat seventh (b7).
It is one of the main scales used for soloing over ii V I progressions. In fact, you can get away with using this scale for the entire ii V part of the progression.
For example, Wes Montgomery used to play dorian over both the ii and the V chord in ii V I progressions – letting him focus on creating melodies rather than changing scales from chord to chord. Check out this great book by Dave Stryker where he explains this concept. (Affiliate link)
It’s also used in the Miles Davis song So What for the melody, chords, and solos.
In the next section, we’ll look at the 2 common thought processes behind the dorian mode.
Approaching the Dorian Mode
There were two different schools of thought that teachers use to talk about the dorian mode. I heard these competing opinions from college professors and jazz guitar players who came through town – and were nice enough to give me a lesson.
One approach is to treat it as just the major scale – starting from the second note.
The other approach is to treat the dorian mode as a unique sequence of intervals – not thinking about the major scale at all.
The idea is that if you just played the major scale, you would sound like you’re just playing the major scale, instead of making the changes.
And no one wants that.
And in the academic setting, the instructors who told me it was just the major scale tended not to sound that good when they played (if they played solos at all).
While the instructors who told me to learn a separate sequence as dorian tended to sound better.
So who should we believe?
Both approaches are technically correct – it’s the same notes at the end of the day.
Over time, I’ve found that each approach has something to teach us – and some area of our playing that it will improve.
Let’s take a look at the pros and cons of each approach real quick.
Thinking of Dorian as the 2nd Mode of the Major Scale
Thinking of the dorian mode as the 2nd note of the major scale is easy enough.
You start your scale on 2 instead of 1. A simple idea, but it feels a little bit awkward at first.
Your “dorian Mode” construction in this context would be 2 3 4 5 6 7 1 – following the major scale tones as written.
I would add that as you play, you should pause a little bit every time you hit the 2 – just to help it sink into your ears more.
While this is simple, I think some students mistake “knowing how it works” for “having the skill” in their hands.
It’s a simple concept, but it takes practice to make it work in your playing. So be prepared to spend a little bit of time on this if you want to be able to use it in your playing.
Pros:
- Works with how we think of changes. We talk about progressions in terms of ii V I – so it’s only logical that if we start the scale on 2 (ii), we’re going to be on the right track.
- Less new stuff to learn. Instead of adapting your scale patterns to fit the dorian mode interval scheme, you can use the same exact patterns – just starting on the second note.
This tends to be a faster entry for people getting into playing modes. It’s less to think about – you just have to do it.
Cons:
- You have to practice it. It’s easy to just think you know how to play the dorian mode because you know the major scale. But you still have to put in some time playing from the second note if you’re going to be able to use it.
- Gives you less of a picture of what makes the dorian mode “tick.” While this way gives you insight on how to play the notes of the dorian mode, it doesn’t show you what makes it dorian, from a theoretical standpoint.
Some people are fine with this – but it also limits your knowledge a little bit.
I was skeptical of the “2nd note of the major scale” approach for years. In fact, I’ve only just started to embrace it in the last 5 years or so.
It’s obviously true – but it just seemed like there was more to it than that. But these days, this is mostly the approach I use – it just works better for the music I’m playing.
The big difference is I know why it works, and how to get the most out of it. Everything comes down to putting in the time to get the sound in your ears, and the pattern under your fingers.
Thinking of Dorian Mode as Its Own Scale
This is more what people think about then they’re “studying modes” for jazz guitar.
In this approach, we’re thinking of a unique set of intervals that creates the Dorian Mode. The scale construction would be 1 2 b3 4 5 6 b7.
We know it comes from the major scale, but we’re looking at it as if dorian is a separate pattern. This is more typical of how I was taught about Dorian mode during college and grad school.
Pros:
- Really get inside what makes the dorian mode tick. When you’re looking at it under a microscope like this – you can see what makes it different from other minor scales. This can help you identify the dorian mode when you hear it, and show you what notes to emphasize in your playing.
- I think it’s easier to get used to the sound of the dorian mode when that’s all you’re focusing on. Some people have a hard time hearing it as different when they work in the context of the major scale. So treating it separately can help.
- A great approach for modal playing – where you’re playing dorian for an extended period of time
Cons:
- It’s easy to overthink it. Students get caught up in the different scale step formula. And get themselves mixed up or practicing the wrong scale in the process.
- It’s hard to think this way when you’re playing changes. If you’re trying to think about a different scale for each chord symbol, you’re not listening or playing creatively. You’re doing math equations.
At the end of the day, I feel like how you think about the dorian mode really boils down to 2 things:
- What’s the easiest way for you to think about this?
- What’s going to be the most useful for your playing?
Your own personal preference and what you need out of the scale are both factors here.
What I Found Out
It took me some time to sort out how I really wanted to think about the dorian mode. And more time to be able to use it in my playing.
I was lucky to take lessons and get information from a lot of different teachers. But with that came conflicting points of view for me to sort out. Sometimes it felt like I was trying to cram a square peg into a round hole. Like I was trying to make the theory line up neatly with the guitar.
Ultimately, I found that the two approaches are just different sides of the same coin. We’re talking about the exact same thing, but looking at it from two different angles.
Treating the dorian mode as the second note of the major scale is a good way to get started. At least in my experience.
There’s not too much you have to think about, you just have to practice it. You’re only thinking: 2 3 4 5 6 7 1 as you play (at most).
And treating dorian mode as a separate scale is also useful. It will inform your playing and deepen your knowledge of the different sounds available to you.
You’re getting the sound of the mode deep into your ears, fingers, and mind. You’re understanding what the sequence looks like and sounds like.
Also you’re developing an understanding of what the intervals within the dorian mode really are. (1 2 b3 4 5 6 b7)
Practice the Dorian Mode
Try out the different approaches for yourself. Irealpro has some great built in backing tracks for common jazz progressions. (I don’t make any money from them – I just think it’s a great program).
Try the Major ii V I exercise in the irealpro app, and just play the major scale. Start on 2 for each key. And use the Modal-Dorian exercise to practice thinking about it as a separate scale.
Either approach is great, and will make sense to you in different circumstances.
The real key here is to put in the practice time. So your dorian mode isn’t just something you study or talk about. It’s something you play and practice.
Conclusion
The dorian mode is a helpful sound to have under your fingers for jazz guitar. Like most things in life, there are a couple of ways you can look at it.
And ultimately, the “right” way is however it makes the most sense to you. If you can use it, you’re doing it right.
I’ve spent a lot of years digging through different approaches to guitar playing, jazz concepts, and the theory behind it all.
Any time there are 2 or more ways to look at a skill, it’s worth taking a look at both. You’ll come out with a better understanding overall. And you’ll have a more solid understanding of the way you like to look at it.
So don’t get too caught up in the little details. Grab your guitar, and start working on your dorian mode!