Part 11: Modes with an audible reason · Lesson 100 / 117
Your explained Dorian study
Today’s one thing
Use the characteristic sixth as a musical choice, not a checkbox.
“Open Sixth” uses an A-centred Am–D vamp. Its melody develops familiar minor-pentatonic material and includes B and F# from A Dorian.
Learn the short target-note version first. When D arrives, locate F# and hear it as the chord's third. When Am returns, land on A, C or E to reinforce home. The complete study gives each F# a stated context rather than scattering it simply to prove the mode is present.
Read the note analysis in layers: note name and duration first; current chord relationship next; interval above tonic A last. This is the same method used in earlier solos, now applied to a different colour.
After learning the phrase, replace one F# with F while keeping the D-major backing. Hear the changed relationship. The experiment is for comparison, not a claim that the altered note becomes an equally settled chord tone.
A concrete example
A Dorian study over Am–D, with all eight bars annotated. F# is highlighted as 6 above A and 3 above D where appropriate.
Fretboard view
High E (string 1) is the top line, matching guitar tablature. Select a note to hear it.
The pitch locations here come directly from the written score, not a generic scale box.
These are the places used across the study, not notes to play simultaneously. A note’s role changes with the current backing chord.Play notes from a larger button list
One small map at a time. Hear the notes, then play the example without looking.
Open Sixth
An Am–D vamp returns to Am for the final two bars so A remains a clear tonic. This is not an unvarying alternation in the last two bars.
8 bars · 4/4 · 72 BPM · A Dorian · Standard tuning
One four-beat count-in at the beginning. The backing continues through lead rests. The slow version keeps the same pitches. Picked-note demonstrations; technique targets are taught separately.
Bar 1 · Am
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
A4Beat 1 · 1 beatString 1, fret 5
C5Beat 2 · 1 beatString 1, fret 8
E4Beat 3 · 2 beatsString 2, fret 5
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from Am’s root. These are two different relationships.
A4, beat 1. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of Am; this is a deliberate chord-tone outline.
C5, beat 2. Degree b3 from A; minor third above this chord’s root. Included in the written chord. State the minor third of Am; this is a deliberate chord-tone outline.
E4, beat 3. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of Am; this is a deliberate chord-tone arrival.
Bar 2 · D
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
F♯4Beat 1 · 2 beatsString 2, fret 7
A4Beat 3 · 1 beatString 1, fret 5
RestBeat 4 · 1 beatKeep counting
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from D’s root. These are two different relationships.
F♯4, beat 1. Degree 6 from A; major third above this chord’s root. Included in the written chord. Feature D’s major third, also the Dorian natural sixth above A.
A4, beat 3. Degree 1 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of D; this is a deliberate chord-tone outline.
Rest, beat 4. Leave measured space in the lead while continuing to count; the backing carries the pulse.
Bar 3 · Am
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
C5Beat 1 · 1 beatString 1, fret 8
B4Beat 2 · 1 beatString 1, fret 7
A4Beat 3 · 2 beatsString 1, fret 5
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from Am’s root. These are two different relationships.
C5, beat 1. Degree b3 from A; minor third above this chord’s root. Included in the written chord. State the minor third of Am; this is a deliberate chord-tone outline.
B4, beat 2. Degree 2 from A; major second above this chord’s root. Outside the written chord. Connect C down to A by scale steps.
A4, beat 3. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of Am; this is a deliberate chord-tone arrival.
Bar 4 · D
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
D4Beat 1 · 1 beatString 3, fret 7
E4Beat 2 · 1 beatString 2, fret 5
F♯4Beat 3 · 2 beatsString 2, fret 7
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from D’s root. These are two different relationships.
D4, beat 1. Degree 4 from A; root above this chord’s root. Included in the written chord. State the root of D; this is a deliberate chord-tone outline.
E4, beat 2. Degree 5 from A; major second above this chord’s root. Outside the written chord. Connect D to F# by a whole-step scale motion.
F♯4, beat 3. Degree 6 from A; major third above this chord’s root. Included in the written chord. State the major third of D; this is a deliberate chord-tone arrival.
Bar 5 · Am
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
A4Beat 1 · 1 beatString 1, fret 5
C5Beat 2 · 1 beatString 1, fret 8
G4Beat 3 · 1 beatString 2, fret 8
E4Beat 4 · 1 beatString 2, fret 5
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from Am’s root. These are two different relationships.
A4, beat 1. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of Am; this is a deliberate chord-tone outline.
C5, beat 2. Degree b3 from A; minor third above this chord’s root. Included in the written chord. State the minor third of Am; this is a deliberate chord-tone outline.
G4, beat 3. Degree b7 from A; minor seventh above this chord’s root. Outside the written chord. Use the familiar minor-pentatonic b7 colour above A.
E4, beat 4. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of Am; this is a deliberate chord-tone arrival.
Bar 6 · D
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
F♯4Beat 1 · 1 beatString 2, fret 7
E4Beat 2 · 1 beatString 2, fret 5
F♯4Beat 3 · 1 beatString 2, fret 7
A4Beat 4 · 1 beatString 1, fret 5
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from D’s root. These are two different relationships.
F♯4, beat 1. Degree 6 from A; major third above this chord’s root. Included in the written chord. State the major third of D; this is a deliberate chord-tone outline.
E4, beat 2. Degree 5 from A; major second above this chord’s root. Outside the written chord. Neighbour below F#, returning to the chord third.
F♯4, beat 3. Degree 6 from A; major third above this chord’s root. Included in the written chord. State the major third of D; this is a deliberate chord-tone outline.
A4, beat 4. Degree 1 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of D; this is a deliberate chord-tone arrival.
Bar 7 · Am
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
C5Beat 1 · 1 beatString 1, fret 8
B4Beat 2 · 1 beatString 1, fret 7
A4Beat 3 · 2 beatsString 1, fret 5
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from Am’s root. These are two different relationships.
C5, beat 1. Degree b3 from A; minor third above this chord’s root. Included in the written chord. State the minor third of Am; this is a deliberate chord-tone outline.
B4, beat 2. Degree 2 from A; major second above this chord’s root. Outside the written chord. Connect C to A while maintaining the tonic-centred phrase.
A4, beat 3. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of Am; this is a deliberate chord-tone arrival.
Bar 8 · Am
Tab numbers are frets. High E is on top. Timing is in quarter-note beats.
E4Beat 1 · 1 beatString 2, fret 5
C4Beat 2 · 1 beatString 3, fret 5
A3Beat 3 · 1 beatString 4, fret 7
RestBeat 4 · 1 beatKeep counting
Understand the notes in this bar
The degree is measured from the overall tonic A using the parallel-major reference. The chord role is measured from Am’s root. These are two different relationships.
E4, beat 1. Degree 5 from A; perfect fifth above this chord’s root. Included in the written chord. State the perfect fifth of Am; this is a deliberate chord-tone outline.
C4, beat 2. Degree b3 from A; minor third above this chord’s root. Included in the written chord. State the minor third of Am; this is a deliberate chord-tone outline.
A3, beat 3. Degree 1 from A; root above this chord’s root. Included in the written chord. State the root of Am; this is a deliberate chord-tone outline.
Rest, beat 4. Leave measured space in the lead while continuing to count; the backing carries the pulse.
Try it, slowly
Play one A-centred phrase without F#.
Add the study's F# over D.
Compare a single-note substitution and explain what changed against the chord.
Check one idea
Does the presence of one F# anywhere automatically prove a passage is A Dorian?
Show the explanation
No. You also need A as the tonal centre and the relevant note relationships in context. F# belongs to many other scales and keys.
A good place to stop
You can explain how this study establishes A and uses its natural sixth.
Return to the example after a short break. A clear explanation matters more than speed.
