How to Fix Dorian Mode Soloing (INSTANTLY)

[@creativeguitarstudio]

**VISIT MY BLOGGER PAGE** Daily posts for the guitar player... creativeguitarstudio.blogspot.ca/ This lessons post... creativeguitarstudio.blogspot.ca/2017/11/how-to-fix-dorian-mode-soloing-instantly.html

[@zionerick9414]

I guess it is kinda randomly asking but do anyone know a good site to stream newly released series online ?

[@kennethjesiah9946]

@Zion Erick Flixportal :P

[@zionerick9414]

@Kenneth Jesiah thanks, I signed up and it seems like they got a lot of movies there :D I really appreciate it!

[@kennethjesiah9946]

@Zion Erick You are welcome xD

[@peterbaker3424]

As someone else pointed out, this is in G minor and you’re using the G natural minor (Aolian mode), which happens to have the same notes as C dorian. Since the point of the lesson is to clarify the difference between the sound and phrasing of modes that share the same notes, this will totally mislead a beginner.

[@Wallimann]

Yes!! Great lesson! :)

[@SuperStrik9]

Dorian is a great mode. Works really well over lots of musical styles. Easy to get stuck in though kinda like it's easy to get stuck in pentatonics. I just think of modes as inversions of a scale. 1 to 1, 2 to 2, etc. Scales within scales basically.

[@MostlyEarTraining]

Yes. What's important is the relationship to the center. That modes are all the same notes as the major scale is interesting, but not really that helpful when you're really thinking about it. I mean Locrian and Ionian have the same notes... but they couldn't possibly sound more different. Anyway, bit of rant there. But just throwing my agreement at you. I prefer thinking of C Dorian as a variation on C Minor not anything to do with Bb Major.

[@lancelotlink6545]

Modes get explained in all kinds of ways but your approach is the way that just makes the most sense to me. I always think of how the Mixolydian and Dorian modes relate to the Ionian and Aeolian modes respectively. Then I relate all of that to the major and minor pentatonic scale shapes and I find I can utilize it all much more efficiently. (I don't really use the other modes but I believe that Lydian is the relative major to Dorian so to speak- in other words same scale shapes with different tonics)

[@zazoomatt]

Working hard Thanking you practicing the Ionian all 5 Positions, then Mixolydian all 5 now Dorian this is SO helpful as EXPLAINED.

[@thepediatricresident1039]

I loved the Dorian jams ! Really captured the sound of Dorian. I instantly found that the minor pentatonic had a new whole new flavour in the Dorian context even though you were playing the 'same notes ' as in a VI-V-IV Aeolian progression. Awesome stuff ! Context matters !

[@bestpasswortinworld]

Sukrit Munshi what do you mean by the VI-V-IV aeolian progression thing? because g aeolian = c dorian, i think this would be a IV-VII-I in G aeolian or a II-V-VI in Bb major (ionian)

[@daleshaeffer4059]

You are as gifted a teacher as you are a musician. Thank you for your generosity.

[@gorimus]

Disagree with 0:22. Nothing wrong in playing a Bb scale (as a known physical pattern) wherever on the fretboard with C as the tonal centre. There could be many ways of going from A to B. Most people would use the road used before - something like a "comfort zone". Once you are comfortable with the intervals then you may find other patterns of the Dorian mode all over the fretboard (different from the major scale patterns). And as +Alberti Bass rightly said knowing the relevant chord progressions are an important part of modal soloing.

[@toneseeker87]

Thank you Andrew! This video lesson is really what i need. I do not know how to emphasise that dorian feel. Thank you for that progression in relation to the mode. 😎

[@juanmoralesvideo]

Great lesson! Very very good that you put clear tha modes are NOT just "your major scale shifted". One concern: may be it is just me, but this chord progression sounds to me as having a G minor root...

[@216trixie]

Since the progression resolves on the Gm, it's hard for me to keep "thinking" C dorian, and not G aeolian.

[@neurofire]

Eluding me are the scales & solo's in Celtic music (like Dick Gaughan - Capercailie) - I also hear them in the music of Doc Watson - Molly Tuttle - Hank Garland - and just about every acoustic player in Nashville. Do you have a pathway into these solos among your lessons? Thanks. Oh - so much info in this lesson - I have to watch it over and over to let it sink in...and your solo was inspiring too. Great work.

[@gomezfriesen]

What an eye opener! Yes please, more modes!

[@TomGoldsmithguitar]

I guess it's a great starter mode cos you have access to the major scale a tone lower and you can think of it as an extention stacked on top of whatever key your in

[@traviscarver4708]

Your lessons are inspiring. You are a great teacher.

[@jtgaebe9281]

Great way to teach the modes! thanks

[@benalldis7551]

Really good lesson,it made me really understand the sound of Dorian. Thank you.

[@michaeldematteis3409]

Your the man andrew!.I always think of playing modes starting on a certain scale pattern.always starting on the root of the mode.very helpful

[@akad1981]

Thank you very very much. So many times I was training my brain to think about second mode of a major scale. Great job. I fixed it.

[@cezanniemelchor2395]

That was very informative please do more of the modes and what style of music it's mostly played. Thank you!

[@DamienRourke]

A solid video; practical and clear. Keep'em coming!

[@carpetpro9903]

Thanks Andrew, your a great teacher and player !

[@GruevyJamLover]

This is the best video I've seen from you. thank you.

[@Jeep4xe]

yes, do more videos on other modes. this was tremendously helpful

[@rolandlemus203]

well, I am going to sound music theory ignorant, but I just memorized this pattern and where it works all over the neck, and now I know it's called Dorian. Sigh, music theory is hard stuff, I would never get all of those names of chords you are referencing so fast. I do like your vid, thanks for teaching me!:)

[@BrunoKrnetic]

Very helpful video. But please, help me out figure something out. How exactly is A note related to C dorian? I got it, we started with C minor and then you mentioned raised 6th. Instead of C minor 6th which is G#, it would be A. Am I right? What's the logic behind it? Can you somehow relate it to the Bb major scale we derived C dorian from? Thank you very much!

[@drews879]

this guy is great

[@jimhagler3716]

Best video I have seen you do yet. getting better but play some rock n roll man.

[@anthonyknight9187]

Isnt that a G11 instead of F11? Pretty sure. Small point, great video.

[@cfreeman5631]

Wish I had found you 20 years ago. Thanks for the info.

[@areskochendorfer7857]

Dude you such a great help and you just inspired me into a whole new way of soloing. 🤘🏼

[@AndrewRiscart]

This is dope I think that more videos would help us understand the modes a lot better

[@tristanmouton2896]

Love from South Africa!

[@josephherring8667]

This is great knowledge, would love to see for more modes!

[@MrAshwin2187]

Awesome lesson. Do you make a conscious effort to follow the chord tones while soloing over a particular chord or play licks and patterns of the C dorian without paying attention to the chord changes?

[@jerryreichelderfer747]

Generally speaking, a little of both. It's really up to you depending on the feel you are wanting to convey. Maybe sometimes you want to target certain notes during changes, whether a root note of the chord or some other interval like the 7th to highlight the flavor of the 7th chord, maybe sometimes you are kinda just jamming in the background, maybe in and out, or maybe taking the time to develop a certain idea.

[@petewhitten3778]

I really appreciate your video, you’re helping me with the modes 😎🎸

[@patrickpirker1634]

Don't say "minor" -minor ist just slang for "emphasizing the 6th tone" (vulgo aeolian - A minor is slang for C aeolian). "Key of C" is slang für "C- Ionian". And all the other modes is emphasizing another tone than either the first (slang major) or the 6th (slang minor). Because its perfectly possible to play in the key of C but emphasizing the e. g. 3rd Tone ( E phrygien). Please tell me if I'm on the wrong path here!

[@eds6889]

Tasty playing, great lesson.

[@vanandmunter181]

yes please make more I think I few times you referred to the last chord as F11 is that meant to be G11? Thanks for the awesome lesson

[@pixelatedparcel]

James Scott James Scott Hey, man. I understand you commented late at night and edited your response to correct yourself but as I am relatively new to guitar and music theory (10 months) , just wanted to chat you up to see what we understand differently so I can work towards a better understanding of these things, if I'm mistaken. Now, I am with you as regards what chord tones are in an Fmaj as well as in a G11. Am not really sure about your statement concerning omitting the 3rd and 5th degree of the G11 being acceptable...My understanding is when you omit a chord's third degree (I am not talking about omitting a duplicate third, I am talking about a chord's only third which gives it its fundamental quality), it is to replace it with a fourth degree making it a "suspended" chord because of its unresolved feeling. So, to me, G-F-A-C is more properly simply a F maj chord with a G bass (F/G). Now F11's formula, like G11´s, is 1-3-5-b7-9-11. So, I agree with you the chord tones of F11 should be F-A-C-Eb-G- Bb. But that is not what he seems to be playing with that 10th position barree with the G bass because those chord tones he seems to be playing by barring that tenth fret with his pointer finger are: G-C-F-A...In other words, still an Fmaj triad with G in the bass (even though in a different voicing)...It's my understanding that absent a seventh degree, you don't properly have an "extended" chord...In other words, since there is no Eb in his chord, it still would not technically be an F11 even if it did have that Bb...So, what am I missing here? Is he just using short-hand without getting bogged down in the details which would explain his comment about playing the Bb on the 11th fret of the second string? Thanks for any insight. By the way, even though I can follow everything he is saying, this lesson is way above my skill level...

[@pixelatedparcel]

James Scott Well, I get your wider point about other instruments contributing to the harmonic structure...There is another thing I don't quite get. My understanding is Dorian scale is R, 2, b3, 4, 5, 6, b7 which, for C Dorian translates into C, D, Eb, F, G, A , Bb. So, I don't understand why he refers to C Dorian's main color tone as the "raised 6th". My understanding is "A" - the sixth (or 13th) in C Dorian - is "natural" and not "raised"... I mean, I totally get that the tonality is "minor" (related to the IImin7 chord) but don't understand his comment about the "A" being a raised sixth...Am I tired/misunderstanding something here? Just so you don't get the wrong idea, this lesson is way above me, technically. I am however somewhat of a theory geek despite my current lack of skill on the instrument.

[@pixelatedparcel]

James Scott Well, that's a relief. Now I can find somethin' else to fret (yep, pun intended) about...Thanks, man. Appreciate your takin' the time.

[@AlexandreLymberopoulos]

Awesome video!!! This is extremely didactic!!! Congrats for your amazing work!

[@jteichma]

Thanks Andrew, this is a great video and makes great sense to me. How did you develop a dorian progression though? Was there some theory there I missed? Thanks for the great video

[@victorlaw4256]

Very good lesson. Thank you!

[@Peteworth]

Real eye opener. Thank you.

[@Tevmina]

Thanks a lot, mr. Bean!

[@bvanhoosen]

This is great! Do more vids like this!

[@avielkharrat5788]

Your jam sounds like Dave Matthews #41. Really beautiful.

[@TheMadpoll]

Great Lesson

[@nicholaswoolfenden5254]

Always very good indeed. Thankyou.

[@jerryreichelderfer747]

Yes, do more, please.

[@jessegaronband]

Perhaps you may wish to take a breath between phrases when soloing?

[@tommybaja9532]

I wish your guitar studio was in southern California.

[@tietsort]

More modes please and thank you.

[@lorneturner5318]

Thank you.

[@Dime8611]

Instructions unclear, guitar slipped from hand causing the neck to break. 🤪🤪

[@MrLiqid]

Thats a mind opener, more please :), miksolydian Phrygian :)

[@gibberjabber5185]

Great lesson drew. Come join us on steemit

[@congorianso]

If you used some bends it would spice up your solos

[@PaulEvansRahal]

Lesson is about intervals rather than phrasing.

[@albertibass6521]

You shouldn't solo until you know your primary chords (I-IV-V). Learn what a tonic (I), sub-dominant (IV), and dominant (V) chord progression sounds like in all seven modes. I=major, i=minor, i dim (diminished). Pick the key of C major: Ionian (major scale) I-IV-V. C - F - G. Dorian i-IV-v Dm - G - Am. Phrygian i-iv-v dim. Em - Am - B dim Lydian I-iv dim- V. F - B dim - C Mixolydian I - IV - v. G - C - Dm Aeolian i - iv - v. Am - Dm - Em Locrian. i dim - iv - V. B dim - Em - F When soloing, think in terms of chord and passing tones. Ex. C major chord tones = C, E, G (Root, 3rd, 5th.) Passing tones (2nd, 4th, 6th, 7th) gravitate to chord tones. Scale based soloing isn't such a great idea. If you don't agree: Ionian - 1,2,3,4,5,6,7 Dorian - 1,2, b3, 4,5,6,b7 Phrygian - 1,b2,b3,4,5,b6,b7 Lydian -1,2,3,#4,5,6,7 Mixolydian - 1,2,3,4,5,6,b7 Aeolian - 1,2,b3,4,5,b6,b7 Locrian - 1,b2,b3,4,b5,b6,b7

[@DrumRoody]

I have been playing for 3 months and I still have the most trouble phrasing in Dorian

[@RayzaEFC]

2 to 2

[@moviewizard471]

>"Nothing to do with Bb"> Plays Bb major scale in 2nd pos Nah, in all sincerity, informative and well structured video, thank you very much!

[@rysriffs]

9:44 Yum yum yum!!

[@manrique420]

I was soloing Dorian without knowing this whole time Jesus lol

[@marshalcraft]

Sorry i'm just gonna have to keep dissagreeing with you, it's just maj/minor scale. That's it. Maybe it makes sense with context to chord progressions, and 7 chords, cause then it's not just maj, min. But you can still think of that all in terms of maj/min. Also it gives just 1 particular map in key change/modulation. so say c major to B flat major (c dorian). The "dorian sound" will describe the relative feel of those two key's relative to one another.

[@marshalcraft]

"wait wait, dorian is blues pentatonic over dorian chords," oh thats what modes are about now. Okay what about phrygian??

[@marshalcraft]

And nobody bother commenting, i've argued this point dozen's of times. Not going around this nursery ryme another time.

[@marshalcraft]

There's no secret, dorian licks/sound dispenser that we're all just missing cause we refuse to accept something.

[@marshalcraft]

Well not saying there is or isn't, just that what ever it is, it's much more to it than this. And viewing it all relative to a parent major scale, is not an issue, it's independent (irrelevent) of the matter. If anything it's the one way you can fully and correctly explain what dorian mode is.

[@bellachi9575]

No. It’s not working!

[@bi0lizard1]

Dorian=porn music

[@Desolator1]

useless like every video I have ever saw..

[@karlsotto7580]

Just play!! Give us some good examples!!! Not your boring solo using dorian!!!

[@fedup3449]

i don't know why you are making this so complicated. You say the Cm key is your focus. We know therefore that it is rooted in the major scale of A sharp, because if Cm is the Dorian (2nd mode) then A sharp must be the root key. If you just play that scale with emphasis on the chords you are playing over then you already have all the notes you need. Every note of every chord you play is found in the major scale of A sharp! Why then tell your viewers to use the Cm pentatonic then add mystery notes such as the 6th A natural when A is already in the major scale of A sharp. Just too confusing for people in my opinion. There is only one scale you ever need to learn, the major scale. Then just find the root of your given chord progression and use the notes of the major scale that come from that key. It's that simple.

[@zappapappa]

Spot on!

[@Vintagestep]

That's the thing he wanted to avoid, he wants people to really get the solid sound of a modal solo or phrase and he did this because the method you're telling doesn't work to everyone.... It's not a question about being practical, it's about to understand the flavor and the color of modal music.

[@trufisp1]

David ---...WOW...um.... way to totally miss the point ( learning to ''sonically'' differentiate scales from modes and modal progressions ) there Davey ....ps if you are ''rooted in the major scale of A sharp'', we would have the messy '' B sharp '' dorian . With Bflat ''thought of '' as the tonic , we get C dorian .......enharmonic's and double sharps make students cry ..( and stop paying ).

[@rogerpercival5486]

No it is not there is a different feel and sound thinking in modes ,you will never be good at playing if thinking of modes an just major scales, the only thing I fo not agree with is c Dorian foes not hsve a major or minor a it is diminished..

[@fedup3449]

@@rogerpercival5486 I specifically said do not just play scales. Be selective and only use the notes from the scale that emphasize the particular nuance of each mode. So i think you may have misunderstood me, what i'm saying is correct - find the root key and use that major scale. Simple.