Formula
- Degrees: 1 2 b3 4 5 6 b7.
- Steps: W H W W W H W (2 1 2 2 2 1 2 semitones). It is symmetrical: read backwards it has the same steps.
- Parent scale: 2nd mode of the major scale. D Dorian = notes of C major from D: D E F G A B C.
- On C: C D Eb F G A Bb. On A: A B C D E F# G. On E: E F# G A B C# D.
Trick: Dorian is natural minor with a raised 6th.
Characteristic note and color
The major 6th (A in C Dorian, F# in A Dorian, B in D Dorian) is the note that distinguishes Dorian from Aeolian. It gives a bright, elegant, “cool” minor, less tragic than Aeolian: funk, modal jazz, soul, house, Celtic music.
Diatonic chords (C Dorian)
| Degree | Triad | Seventh |
|---|---|---|
| i | Cm | Cm7 |
| ii | Dm | Dm7 |
| bIII | Eb | Ebmaj7 |
| IV | F | F7 |
| v | Gm | Gm7 |
| vi° | A° | Aø7 |
| bVII | Bb | Bbmaj7 |
The signature chord is the major IV (F, or F7): its third is exactly the major 6th of the mode. The progression i – IV (Cm7 – F7) is Dorian par excellence. i – ii (Cm7 – Dm7) and i – bVII – IV also work well. The typical tonic chord is m7, m9, m11 or m6 (the major 6th in Cm6 is precisely the characteristic note).
How to keep the Dorian color
- Avoid the V7 – i cadence with the leading tone (G7 with B natural in C): it turns the mode into harmonic minor.
- Make the major 6th heard often: in the IV, in the m6, in the melody.
- Use a pedal or a vamp on i to fix the tonic.
Use in genres
- Modal jazz: “So What” (Miles Davis, Kind of Blue, 1959): 16 bars in D Dorian, 8 in Eb Dorian, 8 in D Dorian.
- Funk and soul: vamps on an m7 or m9 chord with bass riffs that touch the 6th.
- Latin rock: “Oye Como Va” (Santana), Am7 – D7: A Dorian. “Evil Ways” (Santana): Gm – C, G Dorian.
- Pop and dance: “Get Lucky” (Daft Punk), Bm7 – D – F#m7 – E: the E major chord contains G#, the major 6th of B → B Dorian. “Billie Jean” (Michael Jackson): F#m and G#m/F#, with the D# of G#m giving the Dorian color.
- Rock: “Another Brick in the Wall, Part 2” (Pink Floyd), Dm – G: D Dorian.
- Folk: “Scarborough Fair” (traditional, in the Simon & Garfunkel version), E Dorian with the C# in the melody.
- Film: “Time” (Hans Zimmer, Inception), Am – Em – G – D: the D major chord contains F#, the major 6th of A.
Melodies and basses
- Dorian phrases often rise 5 – 6 – b7 – 8 or fall b7 – 6 – 5, making the 6th heard.
- The Dorian funk bass alternates 1, b7, 4 and 6: in A Dorian A – G – D – F#.
- In a dance topline, the major 6th in the chorus “brightens up” a minor-key song.
Common mistakes
- Putting an F natural (minor 6th) in A “Dorian”: it becomes Aeolian.
- Using E7 (with G#) as a dominant in A Dorian: you head toward harmonic minor.
- Believing it is enough to play the “Dorian scale” over any minor chord: over a vi of a tonal progression (Am in C major) the Dorian 6th (F#) goes against the harmony.
Exercise
- Create a 2-bar vamp Am7 – D9 and improvise with A Dorian (A B C D E F# G), stressing the F# on the D9.
- Turn one of your Aeolian loops (Am – F – G) into Dorian by replacing F with D: listen to the change of color.
- Write a funk bass in E Dorian with ghost notes, then a topline that uses the 6th (C#) on the chorus.
Connections
Modes of the major scale; Aeolian mode; Dorian b2; Modal harmony and modal loops; Melodic minor; Sixth chords.