Dorian

What it means

The Dorian mode runs on the natural notes from D to D. Its semitone steps lie between the second and third and between the sixth and seventh degrees. Compared with natural minor, it differs in a single note: the sixth degree lies a semitone higher. This one note noticeably changes the character — the mode seems less dark, rather floating and open.

Musical use

In the order of the church modes, Dorian is the first mode; the plagal form with an extended range below the finalis is called Hypodorian. Both share the same finalis and differ only in ambitus.

Like all the old modes, Dorian has no leading tone: the seventh degree lies a whole tone below the finalis. In the cadence it was therefore often raised by musica ficta, which in modern editions can be recognized by small accidentals above the staff. The characteristic high sixth degree remained untouched and can be heard particularly clearly in the cadential turn from the fourth degree to the finalis.

Beyond early music, Dorian has remained extraordinarily alive: in folk songs of many countries, in folk, in modal jazz, and in popular music, where Dorian chord progressions are among the most widespread.

Dorian is to be distinguished from Aeolian, which it resembles except for the sixth degree, and from Phrygian, which differs by the low second degree.

Other names

Dorisch is the German designation of the same mode; Dorian is the English one. Dorian occurs above all in English-language textbooks on jazz and popular music as well as in scale tables. When transferring such sources, bear in mind that the note names in German sources differ too: German H corresponds to English B.

Performance practice

While playing, watch the sixth degree — it is the note on which it is decided whether it sounds Dorian or minor, and it wants to be audible. Do not phrase toward a leading tone that does not exist. And sing the scale before you play it; otherwise the ear involuntarily gets used to the minor version.