Love this ! Just what the guitar patient needed ! Simple but sooo fun to play around with. I've always liked Dorian but this gives me a better sense of how to apply this mode. Thank you Andrew !
I'd once asked a Berklee grad his thoughts on what draws players to feel most comfortable with a given mode..... certain players can be associated with certain modes that generally define their style..... in the way that "mode" can be synonymous with "mood": Joe Satriani/Lydian, Al diMeola/Phrygian, Jerry Garcia/Mixolydian, etc. My topmost influence since 10 yr old 50 years ago was Carlos Santana/Dorian. So I ask the Berklee grad "I wonder what it is in us that.... well, I clearly feel like I can sail with Dorian mode songs...." His reply "..... 'cuz you can't make any mistakes!" HMMMM..... I STILL wonder what his intent was.....
Hi Andrew, can I pls mention a couple of things: at 8:34 chord diagram includes no #11 (no lydian), but a regular 4. Also, instead of converting business talk that is "mystical" for beginners and I don't get it either, one can simply think like this: First progression is: ii vi I (C is the second degree of B flat major scale) Second progression is: ii vi V (from A major scale)- no need to think of any conversions and there is no key change Third progression: ii I Vvi- (same A major scale) no key change all diatonic I am not criticizing, as a beginner I would immediately give up had I not known that B is ii of A and E is V of A and so on.. Thank you!
Andrew your lessons are really amazing mate , eeem so man i'm really not fan of music theory but i can play some notes and i really need you to show me how duane allman / dickey betts got that wicked sound on whipping post / les bres / hot lanta / elizabet reed. thank you so very much again ☮
Hi, don't know why, but there is something very "Hawaiian" about the melodies you made with the 6 & 13. Does it relate to the way lap guitars may be tuned. Ah the beach, the sun, the sound of the breakers on the shore! I will hear Dorian in a new way now. Thanks.
Thanks SO MUCH for taking the time to respond. I've wanted to thank you since 3 December, but for some reason the YT comment refuses to post. I'm probably at Grade 3 level, so not a complete newbie. My mother-in-law asked me to write a hymn for her choir. My first attempt, she said, was too syncopated for her choir to attempt. Then I saw something about how the mode can give the whole piece a different feel. So I've been wanting to incorporate that, rather than the old I, IV, V progression. Thanks again Lake. I really really appreciate it.
Could somebody please explain, or point me in the direction of a lesson to explain, the part where he talks about converting the quality of the 4th chord from minor to major? I'm really interested in the basics of this concept, and this lesson was pitched a little to high for me at this stage. I enjoyed the lesson anyway, thank you Mr Wasson.
I think his explanation could be a little clearer on that score. If we are in B minor Dorian mode, then the E chord is already the E7 dominant. No need to alter anything. I think what he is trying to say is that a typical i-iv-v minor progression would be B minor, E minor, F# minor based on the B natural minor (Aeolian mode). But since we are actually using B minor Dorian, then we are using the E7 dominant chord (think of A major as the fundamental key here).
+Caozinho11 Same notes... but whatever the root note is determines the scale. If the root note is D, it's dorian, if the root note is C, it's Ionian (aka major scale.) however if everything else playing gives the appearance of D while you are playing that C it's still D dorian if they override your guitar playing. Also the specific chord you use also helps determine that. For example that C be played as a 7th rather than a root... and if you are playing an inverted D minor 7th chord it's still a D Dorian even if the C is the lowest note.
+Eddieisfiction also think to CAGED method when determining pentatonic box shapes rather than using diatonic scales to determine pentatonic box shapes. If the minor scale is is box one... than on dorian if you treat that area as box one, and at the C you use the box 5 rather than box 2 (the normal major pentatonic shape) it will highlight more for the D dorian than C major.
u mis understood what i meant... not a tritone key wise but in the chord there is a tritone Eb is a tritone of A rite? that shouldnt be like that and wouldnt a cm6 be C G# Eb G not an A sense G# is the minor 6 of C...if theres something im missing please tell me so i can know hahah
avaris1280 The "minor" determines the minor quality of the chord. Cm6 is basically a minor triad (C, Eb, G) with the major 6th (A) as an extension. You can always check that with the chord diagrams shown. In this particular case: D string, 7th fret -> A. The interval Eb, A is indeed the tritone, but you will find all sorts of intervals inside the structure of a chord. e.g.: the interval from major 3rd to minor 7th is also a tritone -> every regular dominant 7th chord "hides" a tritone within.
Love this ! Just what the guitar patient needed ! Simple but sooo fun to play around with. I've always liked Dorian but this gives me a better sense of how to apply this mode. Thank you Andrew !
This info is great, but damn you go fast for us mortals! Fortunately I can pause, rewatch, etc, and now I (almost) understand it. Cheers!
Thanks! This really helped me pin down where the Dorian scale is.
Wow, Mr. Wasson, you're an amazing teacher and a wonderful player! Cheers!
One of your best yet Andrew , keep it up ! From Ireland
Thank you for sharing your vast knowledge with us. I always leave your lesson with some new knowledge!
Another great lesson. Thanks Andrew.
thank you very much for the explanation, was of great help.
Greetings from Argentina
I really like the dorian, it's kind of dreamy to me or something.
ryshenton Try a 1-4 progression using only major 7 chords. You can solo over it using the Lydian scale and it sounds very dreamy/jazzy
I'd once asked a Berklee grad his thoughts on what draws players to feel most comfortable with a given mode..... certain players can be associated with certain modes that generally define their style..... in the way that "mode" can be synonymous with "mood":
Joe Satriani/Lydian, Al diMeola/Phrygian, Jerry Garcia/Mixolydian, etc. My topmost influence since 10 yr old 50 years ago was Carlos Santana/Dorian. So I ask the Berklee grad "I wonder what it is in us that.... well, I clearly feel like I can sail with Dorian mode songs...." His reply "..... 'cuz you can't make any mistakes!" HMMMM..... I STILL wonder what his intent was.....
beautiful material,well explained!
way too difficult for me so far! but... i wrote like two new songs inspired by this tutorial and your guitar so beautiful
WOW talk about answering someone's question thoroughly.
Thanks, dorian mode is one of my favourites. Really nice clean guitar tone btw it fits well.
Hi Andrew, can I pls mention a couple of things:
at 8:34 chord diagram includes no #11 (no lydian), but a regular 4.
Also, instead of converting business talk that is "mystical" for beginners and I don't get it either, one can simply think like this:
First progression is: ii vi I (C is the second degree of B flat major scale)
Second progression is: ii vi V (from A major scale)- no need to think of any conversions and there is no key change
Third progression: ii I Vvi- (same A major scale) no key change all diatonic
I am not criticizing, as a beginner I would immediately give up had I not known that B is ii of A and E is V of A and so on.. Thank you!
Andrew your lessons are really amazing mate , eeem so man i'm really not fan of music theory but i can play some notes and i really need you to show me how duane allman / dickey betts got that wicked sound on whipping post / les bres / hot lanta / elizabet reed.
thank you so very much again ☮
Hi, don't know why, but there is something very "Hawaiian" about the melodies you made with the 6 & 13. Does it relate to the way lap guitars may be tuned. Ah the beach, the sun, the sound of the breakers on the shore! I will hear Dorian in a new way now. Thanks.
+Bluestone Blue It's b/c it's similar to modes used in Brazilian music, so you associate it with the first tropical thing you can think of.
thanks andrew
Thx for this - excellent
Merry Christmas from England :-)
Good stuff. I followed along on keyboard
I would have been helpful to know what key you started in. It's above me I'm afraid. Beautiful music, incomprehensible to me
Thanks SO MUCH for taking the time to respond. I've wanted to thank you since 3 December, but for some reason the YT comment refuses to post. I'm probably at Grade 3 level, so not a complete newbie. My mother-in-law asked me to write a hymn for her choir. My first attempt, she said, was too syncopated for her choir to attempt. Then I saw something about how the mode can give the whole piece a different feel. So I've been wanting to incorporate that, rather than the old I, IV, V progression. Thanks again Lake. I really really appreciate it.
Brilliant!!!
this guy rules
in dorian 3b and 7b ....I played in my guitar ....but it is little bit different
Could somebody please explain, or point me in the direction of a lesson to explain, the part where he talks about converting the quality of the 4th chord from minor to major? I'm really interested in the basics of this concept, and this lesson was pitched a little to high for me at this stage. I enjoyed the lesson anyway, thank you Mr Wasson.
I think his explanation could be a little clearer on that score. If we are in B minor Dorian mode, then the E chord is already the E7 dominant. No need to alter anything. I think what he is trying to say is that a typical i-iv-v minor progression would be B minor, E minor, F# minor based on the B natural minor (Aeolian mode). But since we are actually using B minor Dorian, then we are using the E7 dominant chord (think of A major as the fundamental key here).
dlyncherful Thanks for clearing that one up! Makes sense now.
thank you very good lesson .... or you can get your work this method could you send me the link
do you always have to have the mode root as the bass ? so if I play a G dorian, i can't the root? otherwise it will change mode or what ?
Hello Andrew. May I ask please? What software are you using to add notation and graphics to your screen? Thank you.
Hi can you use D dorian in C major??? Since it is the second degree of the major scale
Well, c ionian has the same notes as d dorian. But if you have a major sounding chord progression, dorian will sound off.
Well, c ionian has the same notes as d dorian. But if you have a major sounding chord progression, dorian will sound off.
Well, c ionian has the same notes as d dorian. But if you have a major sounding chord progression, dorian will sound off.
+Caozinho11 Same notes... but whatever the root note is determines the scale. If the root note is D, it's dorian, if the root note is C, it's Ionian (aka major scale.) however if everything else playing gives the appearance of D while you are playing that C it's still D dorian if they override your guitar playing. Also the specific chord you use also helps determine that. For example that C be played as a 7th rather than a root... and if you are playing an inverted D minor 7th chord it's still a D Dorian even if the C is the lowest note.
+Eddieisfiction also think to CAGED method when determining pentatonic box shapes rather than using diatonic scales to determine pentatonic box shapes. If the minor scale is is box one... than on dorian if you treat that area as box one, and at the C you use the box 5 rather than box 2 (the normal major pentatonic shape) it will highlight more for the D dorian than C major.
I thought at the very beginning that they were filming a garage with extra large equipment and props lololol
Ummm isn't the chord in the first example useing a major 6 not a minor 6..I mean last I checked minor 6 six chords don't have tritones in them rite...
There's no tritone in there though. Its C, A, Eb, G -> Cm6
u mis understood what i meant... not a tritone key wise but in the chord there is a tritone Eb is a tritone of A rite? that shouldnt be like that and wouldnt a cm6 be C G# Eb G not an A sense G# is the minor 6 of C...if theres something im missing please tell me so i can know hahah
avaris1280 The "minor" determines the minor quality of the chord. Cm6 is basically a minor triad (C, Eb, G) with the major 6th (A) as an extension. You can always check that with the chord diagrams shown. In this particular case: D string, 7th fret -> A.
The interval Eb, A is indeed the tritone, but you will find all sorts of intervals inside the structure of a chord.
e.g.: the interval from major 3rd to minor 7th is also a tritone -> every regular dominant 7th chord "hides" a tritone within.
i understand now i had my friend explain it to me thank you tho i appreciate u taking time to try and help me
avaris1280
my pleasure :)
don't
stop
Mah!!!
b dorian is over a b minor seven , with the same notes over other bass , it is not dorian.
meanwhile , serious lesson for intermediate players.....
you're a wiener
Mr Bean plays guitar!