Scale

A dorian

Major scale modes

Formula: 1 2 ♭3 4 5 6 ♭7
Notes: A B C D E F♯ G

Notation

Fretboard — frets 0–24

Degrees

Degree	Note	Interval	Semitones	Role
1	A	perfect unison	0	The root — the tonal centre every other note is heard against; land on it and the sound resolves.
2	B	major second	2	The major second — a bright neighbour a whole step above the root; in sus2 it replaces the third, so the chord commits to neither major nor minor.
♭3	C	minor third	3	The minor third — the dark counterpart of the major third; it turns a shape minor and colours m, m7 and the minor scales.
4	D	perfect fourth	5	The perfect fourth — stable yet suspended; in sus4 it takes the third's place and leaves the chord hanging.
5	E	perfect fifth	7	The perfect fifth — the root's strongest companion; it anchors every triad and stacked-seventh quality.
6	F♯	major sixth	9	The major sixth — the hopeful note that separates dorian and m6 from their darker cousins; it sits a whole step above the fifth.
♭7	G	minor seventh	10	The minor seventh — the dominant's engine; a whole step under the root, it turns a triad into a 7 chord and drives the resolution.

About this scale

Dorian is the second degree of the major scale: start the major pattern on its second note and you get a minor scale with a raised sixth. That single note is the whole character — minor but hopeful, dark at the third and bright at the sixth. It is the scale of the m7 chord, the default sound for a minor vamp, and the colour behind countless jazz, funk and folk melodies. Because the sixth is major, the tritone sits between the third and sixth rather than in the usual dominant place, so the scale floats instead of pulling. Listen for the raised sixth against the minor third.

How to practise this scale

Hold the raised sixth over a minor vamp and let it ring.
Compare it with aeolian and hear exactly what the sixth changes.
Improvise over a static m7 chord and land on the sixth.
Play the scale from the second degree of a major scale you know.