-----:--

lrritituil: nwl
TRAcxs 3s-53

Let s find out lrirai -is this scale apart.

Erample t demonsLrates the sound of
Dorianbz over a mTvamp: the only

lulelodic Minor difference from the Dorian isthebznd -

but it makes quite a difference.
So where could it be used? One option is
as an outside sound over m7 chords
PeteCallard nears the end of his leisurelystroll alongside Dorian and melodic minor
(Lxample z). Or it cor d substitute for
through the modes of the melodic minor scale
Phrygian, with the bznd and maj6th giving
with mode two, otherwise known as Dorian b2... us an interesting mix of Phrygian aud
Dorian (Example 3). But it would be nice to
find a place that Dorian bz will truly fit.
Okay, well remember ttrat the two
intervals tJlat set it apart from any other -
are the bznd and maj6th (in A, the notes
Bb andF*). That means to reallypin dou:n
the sound ofDorian b2 we need to find a
chord or sequence that highlights these
intervals. If we simply add them to an Am7
chord we get Amr3b9 (Example 4),
although I rather like the faintly flamenco
approach of moving fiom Am7 to Bbaug/A
(Lxample 5). When it comes to chord
sequences, a fewwhich work well for A
Do anb2 are:
Am7 - C7 - D7 @xample 6)
AlI.7 -DlA- cm/A- D/A (Ex 7)
AraZ - F#m7bs - Cz - Em7b5 (Ex 8)
Next month we'll be concluding this
particular series with some ideas for
getting the Dorian b2 scale into your
playing more quickly, by adapting ideas
lrom different players lo expand your
soloing vocabulary. I hope you'll join me
for a rousing send- off! E

il Dorian b2 may not bring

you populariu but it will
guanantee you a level of

re3e 6l
G Moderate/Advanced
TEMPO: Various I M S(ale vo(abulary
CD: TRACKS 39'53 gJaz soloinq
litde harsh, as Dorian bz is a perfectly
presentable scale; it's just more of a 'niche'
scale than the fiankly promiscuous
exclusivity unimaginable
with the pentatonic scale!ll
Mixolydians ofthis world. Dorian bz may
not bring you popularity, but it wil GETTHETONE
guarantee alevel of exclusivity
unimaginable with the pentatonic scale!
The intervals are r,bz, bg,4, s,6,bZ(in A:
A, Bb, C, D, E, F#, G - Diagram r), giving us ry
I

OVER THE PAST few months we've been
zig-zagging our way around the seven
modes of melodic minor. Rather than
attacking the modes sequentially, I thought
it would be more useful to start with the
nost usable scales and work dowa to the
scalic misfits and outcasts of the brmch.
Havingalreadl exhaustedtheothersix
modes, this leaves us with the runt of the
litter to finish - mode two. Actually that's a
Dorian mode but with the 2nd flattened.
The first step in using any new scale is to
find out what chords it will work over, and
to do this we need to harmonise the scale
(build a 7th chord by taking the 1st, 3rd, sth
and Zth notes ofthe scale). This would give
us the intervals r, b3, s, b7 (in A, that's A, C,
E and G), making a minor zh chord, telling
us that Dorian bz will work over m7 chords
(see Diagram z).
(fr ,s.
You can use any sound that you feel is
appropriate for these examples. For a
good generaljazz tone, use the guitar!
neck pickup with thetone rolled offand
a clean sound on theamp.Thick strings
work bette, as doesa hollowbody
guitar, but neither is essential.

TRACK REC0RD Ihe mo des oJ Melodiclllnor are ryidely usod in jazz, s0 our listenlng recommendations c,ould encompass many things. Some
ptalrc|s rorth Glmcting out includG Johll claughlh (Irio livo tt Tlrc [oyal tcstival llall), Pat lil€t[eny (ouostioDs & Answer), Pat ]rartino ([ive
At Yoshi's) and John Scofiold Olue ilattor).

72 GuitarTechniques November 2008