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Dorian Pentatonic Scale
Dorian Pentatonic Scale
From the forthcoming book, A Pentatonic Modal Approach Jazz Guitar Improvisation
(Chapter 3), Hal Leonard, 2007.
D-7
Dmin7
Dmi7
D-
Dm
Dmin
Dmi
D
D
D
E
E
F
F
F
G
G
A
A
A
C
C
C
The common suggestion for pentatonic soloing over the IIm7 chord is to use the minor
pentatonic scale (1 b3 4 5 7). This pattern can work, as will be discussed in a later chapter.
However, the subtle change of the one note (E instead of G) makes a big difference in:
-the sound of the scale (it sounds more jazzy than rock);
-the versatility of the scale in playing different Dorian min7 chords in a measure/song and
always sounding right (try playing different combinations of IIm7 chords and the related scale
to see how nicely they sound together); and
-clearly distinguishing a modal center contrast to any other modal minor or non-modal chords in
a chord sequence (sounds good with any chord sequence).
The E note (9th) in the Dorian Pentatonic Scale is much stronger than the G note (4th) in the
regular Minor Pentatonic scale in terms of the sound of the chord. This becomes even more
evident when the IIm7 chord is used in conjunction with the V7 chord. The Dorian (IIm7)
Pentatonic Scale creates a much better voice leading transition to the V7 Dominant Seventh
chord and should be used for all IIm7 chords.
Figure 3.2
D Dorian Pentatonic Scale
Mode V
3rd fret
5th fret
7th fret
9th fret
12th fret
3rd fret
5th fret
7th fret
9th fret
12th fret
Mode bVII
Mode I
3rd fret
5th fret
7th fret
9th fret
12th fret
Mode II
12th fret
9th fret
15th fret
Mode bIII
3rd fret
5th fret
7th fret
9th fret
12th fret