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The Dorian Scale for Jazz ImprovisationUnderstanding the Dorian Scale

Dorian is the 2nd mode of the major scale. So if we start any major scale on the 2nd degree we get a dorian scale.

Step 1 – We are going to play the major scale and then the related dorian scale. 

A useful variation of this step is to understand where the half-steps are in the dorian scale and then play all dorian scales without considering the related major scale.

Step 2 – Play all dorian scales by thinking of where the half-steps are and the degrees that you’re playing. The formula for dorian is W H W W W H W.

And the scale degrees are 1 2 b3 4 5 6 and b7.

Chordal Implications of the Dorian Scale

If we stack notes from the Dorian scale by 3rds, we get a m7(9,11,13) chord.

So this scale is ideal for related 2 chords. Related 2 chords are m7 chords that are followed by the related V chord.

For example: in a Dm7 G7 progression, the Dm7 is the related 2 chord of the G7 chord because Dm7 to G7 is a 2-5.

But, not all m7 chords are good candidates for the Dorian scale. In the progression Cmaj7 Am7 Dm7 G7, the Am7 does not want to be paired with the dorian scale. And that’s because Am dorian contains an F# which is not part of the C major scale. And of course Am7 is not part of a 2-5.

Another possible use of the dorian scale on m7 chords is on modal tunes, like in Recorda-me. In this case the Am7 pairs well with the Dorian scale. You can even see how the F# is part of the melody under the Am7 chord.

It is also worth noting that the 13 in Dorian is a tricky note to use on a m7 chord acting as a related 2. And that’s because the 13 creates a tritone with the b3 of the chord. In a Dm7 the 13th is B and the b3 is F. These two notes create a tritone F to B which is exactly what the V chord (G7 in our case) uses to create tension. That does not happen in a modal context -as I’ve shown you before in Recorda-me.

Step 3 – Play the dorian scale in 3rds like this:

Notice how we are arpeggiating the m7 chord and then we introduce tensions 9 and 11, and finally tension 13.

Pay attention at how tension 13th sounds in this m7 context. It turns the sound of the m7 into a dorian modal sound.

Applying the Dorian Scale

The last 3 steps are more about lines using the dorian scale in a 2 -5 progression.

Step 4 – Play an arpeggio with the 9th as an approach tone, and we end up landing on the 9th, which is the 13th of the V chord.

Bebop-izing the Dorian Scale

We turn the dorian scale into a Bebop scale using a chromatic passing tone. 

Step 5 – Start on the root of the scale and use the maj7 as a passing tone between the root and the b7. The cool thing about the bebop scales is that all the chord-tones from the m7 chord are played on the downbeats, while the rest of the notes from the dorian scale are used as passing tones.

Step 6 – We’re going to add two chromatic passing tones, which allows us to start on the 9th of the dorian scale.

If you’re looking for a complete course on the modes of the major scale and how to use them for jazz improvisation, you can check out Jazz Scales & Modes Vol.1: A Guide To Improvisation available for Piano, Bass Instruments, Bb and Eb Instruments.

Learn more on mDecks.com

The Major Scale (Ionian) for Jazz ImprovisationThe Major Scale (Ionian)

The major scale serves as our “source scale,” the point of reference for its related modes. We will delve into the intricacies of this scale, explore its unique properties, and discover its role in improvisational music.

The Concept of Source Scales

In the realm of musical modes, the Ionian scale takes center stage as the most familiar and frequently employed scale. We designate it as our “source scale,” a reference point from which we derive all related modes within its group. 

Whether it’s Dorian as the 2nd mode or Lydian as the 4th mode, these modes find their origins within the Ionian scale. The choice of the source scale is primarily based on its prevalence in musical practice, and there are no intrinsic properties guiding this selection.

Understanding the Ionian Scale

Step 1 – Play the Ionian scale in all keys.

Throughout the book we will use a modulation pattern of a perfect fifth down. This is the most-often-found root movement in music.

Step 2 – To deepen our understanding of the Ionian scale, we’ll explore its structure in terms of whole and half steps. This perspective helps us navigate any scale more intuitively and utilize its degrees effectively. 

The half-whole pattern of Ionian is: W W H W W W H

This gives us all major/perfect degrees: 1 2 3 4 5 6 7.

Chordal Implications of the Ionian Scale

Stacking notes from the Ionian scale by thirds reveals a maj7(9,11,13) chord. We’ll investigate the unique relationship between the 11th and the 3rd, understanding the dissonance they create in tonal contexts. In modal harmony, we can leverage these tensions to emphasize the Ionian sound.

Step 3 – Transformation of Maj7 to 6 Chord

The Ionian scale’s adaptability allows us to transform a maj7 chord into a 6 chord, a valuable skill in jazz improvisation. We’ll explore this transformation and its applications.

Bebop-izing the Ionian Scale

Much like Dorian and Mixolydian, we can enhance the Ionian scale by adding a chromatic passing tone between the 5th and 6th degrees, creating a Bebop scale. This alteration aligns chord tones with downbeats.

Step 4 – Play ascending bebop scales.

Step 5 – Play descending bebop scales.

The Passing Diminished Chord

By integrating all passing tones into the major Bebop scale, we form a diminished chord. This chord plays a significant role in jazz, facilitating reharmonization of passing tones. 

Step 6 – Play ascending scales using passing diminished chords.

Modal Perspective of the Ionian Scale

In a modal context, the Ionian mode presents unique challenges due to its tonal implications. We’ll focus on the characteristic tones, the 4th and 7th degrees, and explore their role in defining the modal sound.

To further our modal understanding, we’ll construct altered quartal voicings using the root, 4th, and 7th degrees. This unorthodox yet captivating sound adds depth to our Ionian explorations.

Putting It All Together

Step 7 – Combine modal quartal voicings with melodic lines. This comprehensive approach helps us grasp the full potential of the Ionian scale within the realm of improvisation in a modal context.

If you’re looking for a complete course on the modes of the major scale and how to use them for jazz improvisation, you can check out Jazz Scales & Modes Vol.1: A Guide To Improvisation available for Piano, Bass Instruments, Bb and Eb Instruments.

Learn more on mDecks.com

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