Dorian mode or Doric mode can refer to three very different but interrelated sub jects: one of the

Ancient Greek harmoniai (characteristic melodic behaviour, or the scale structure associated with it), one of the medieval musical modes, or o ne of the modern modal diatonic scales (also called Russian minor by Balakirev[1 ]) . Contents [hide] 1 Greek Dorian mode 2 Medieval and modern Dorian mode 2.1 Medieval Dorian mode 2.2 Modern Dorian mode 3 Notable compositions in Dorian mode 3.1 Traditional 3.2 Classical 3.3 Jazz 3.4 Popular 4 See also 5 References Greek Dorian mode [edit]

Greek Dorian mode (enharmonic genus) on E, divided into two tetrachords. Play ( helpinfo) Greek Dorian mode (chromatic genus) on E. Play (helpinfo) Greek Dorian mode (diatonic genus) on E Play (helpinfo). The Dorian mode (properly harmonia or tonos) is named after the Dorian Greeks. A pplied to a whole octave, the Dorian octave species was built upon two tetrachor ds (four-note segments) separated by a whole tone, running from the hypate meson to the nete diezeugmenon. In the enharmonic genus, the intervals in each tetrac hord are quarter-tonequarter-tonemajor third; in the chromatic genus, semitone-sem itone-minor third; in the diatonic genus, semitone-tone-tone. In the diatonic ge nus, the sequence over the octave is the same as that produced by playing all th e white notes of a piano ascending from E to E: E F G A | B C D E,[2] a sequence equivalent to the modern Phrygian mode. Placing the single tone at the bottom o f the scale followed by two conjunct tetrachords (that is, the top note of the f irst tetrachord is also the bottom note of the second), produces the Hypodorian ("below Dorian") octave species: A | B C D E | (E) F G A. Placing the two tetrac hords together and the single tone at the top of the scale produces the Mixolydi an octave species, a note sequence equivalent to modern Locrian mode.[3] Medieval and modern Dorian mode [edit] Medieval Dorian mode [edit] The early Byzantine church developed a system of eight musical modes (the octoec hoi), which served as a model for medieval European chant theorists when they de veloped their own modal classification system starting in the 9th century.[4] Th e success of the Western synthesis of this system with elements from the fourth book of De institutione musica of Boethius, created the false impression that th e Byzantine oktchos were inherited directly from ancient Greece.[5] Originally use d to designate one of the traditional harmoniai of Greek theory (a term with var ious meanings, including the sense of an octave consisting of eight tones), the name was appropriated (along with six others) by the 2nd-century theorist Ptolem y to designate his seven tonoi, or transposition keys. Four centuries later, Boe thius interpreted Ptolemy in Latin, still with the meaning of transposition keys , not scales. When chant theory was first being formulated in the 9th century, t hese seven names plus an eighth, Hypermixolydian (later changed to Hypomixolydia n), were again re-appropriated in the anonymous treatise Alia Musica. A commenta

ry on that treatise, called the Nova expositio, first gave it a new sense as one of a set of eight diatonic species of the octave, or scales. In medieval theory , the authentic Dorian mode could include the note B "by licence", in addition to B.[6] The same scalar pattern, but starting a fourth or fifth below the mode fin al D, and extending a fifth above (or a sixth, terminating on B), was numbered as mode 2 in the medieval system. This was the plagal mode corresponding to the au thentic Dorian, and was called the Hypodorian mode.[7] In the untransposed form on D, in both the authentic and plagal forms the note C is often raised to C to f orm a leading tone, and the variable sixth step is in general B in ascending line s and B in descent.[8] Modern Dorian mode [edit] Modern Dorian scale on D Play (helpinfo). Dorian mode in Ernest Bloch's Chanty from Poems of the Sea, mm. 1-8.[9] Play (h elpinfo) The modern Dorian mode, by contrast, is a strictly diatonic scale corresponding to the white keys of the piano from "D" to "D", or any transposition of its inte rval pattern, which has the ascending pattern of: Whole Step - Half Step - Whole Step - Whole Step - Whole Step - Half Step - Whol e Step or more simply: w-h-w-w-w-h-w. It can also be thought of as: Tone - Semitone - Tone - Tone - Tone - Semitone - Tone T-S-T-T-T-S-T. or simply as a scale with a minor 3rd and 7th, a major 2nd and 6th, and a perfec t 4th and 5th. It may be considered an "excerpt" of a major scale played from the pitch a whole tone above the major scale's tonic (in the key of C Major it would be D, E, F, G, A, B, C, D), i.e., a major scale played from its second scale degree up to it s second degree again. The resulting scale is, however, minor in quality, becaus e, as the "D" becomes the new tonal centre, the F a minor third above the D beco mes the new mediant third degree. If we build a chord on the tonic, third and fi fth, it is a minor chord. Examples of the Dorian mode include: The D Dorian mode, which contains all notes the same as the C major scale starti ng on D. The G Dorian mode, which contains all notes the same as the F major scale starti ng on G. The A Dorian mode, which contains all notes the same as the G major scale starting on A. The Dorian mode is symmetric, meaning that the pattern of tones and semitones (T -s-T-T-T-s-T) is the same ascending or descending. The modern Dorian mode is equivalent to the natural minor scale (or the Aeolian mode) but with the sixth degree raised a semi-tone. Confusingly, the modern Dori an mode is the same as the Greek Phrygian mode. The only difference between the Dorian and Aeolian scales is whether or not the 6th is major (in the Aeolian it is minor, in the Dorian it is major). The I, IV, and V triads of the Dorian mode are minor, major, and minor, respectively (i-IV -v), instead of all minor (i-iv-v) as in Aeolian. In both the Dorian and Aeolian , strictly applied, the dominant triad is minor, in contrast to the tonal minor scale, where it is normally major (see harmonic minor). It is also worth noting that the sixth scale degree is often raised in minor music, just as it is often lowered in the Dorian mode (see melodic minor). The major subdominant chord give s the Dorian mode a brighter tonality than natural minor; the raised sixth is a tritone away from the minor third of the tonic. The subdominant also has a mixol ydian ("dominant") quality.

The Dorian mode is commonly used in funk because of its major/minor sound.[vague ] The Dorian mode is also the basis of the ascending melodic minor scale, which is also known as the jazz minor scale. "The Modern Dorian Mode, in A" MENU0:00 An acoustic guitar playing the basic Dorian mode pattern up and down. The record ing is in the key of A. Problems listening to this file? See media help. Notable compositions in Dorian mode [edit] Traditional [edit] "Drunken Sailor"[10] "Scarborough Fair"[10] Classical [edit] The "Et incarnatus est" in the Credo movement of Beethoven's Missa Solemnis.[11] Jazz [edit] "Maiden Voyage" by Herbie Hancock[12] The composition takes the form aabba with the a sections in G Dorian and the b sections in A Aeolian.[13] "Milestones" by Miles Davis[12] "Oye Como Va" by Tito Puente, popularized by Santana[14] "So What" by Miles Davis[12] Written in D dorian and E dorian.[15] Popular [edit] "Along Comes Mary" by The Association[16] "Billie Jean" by Michael Jackson[12] "Eleanor Rigby" by The Beatles[17] is often cited as a Dorian modal piece, and w hile the melody line is a Dorian melody (bar some portions), the song is based o n an Aeolian modal progression (IVI and VII).[18] "Smoke on the Water" by Deep Purple[14] "The Wreck of the Edmund Fitzgerald" by Gordon Lightfoot[19] See also [edit] Kafi, the name used in Hindustani music for the equivalent scale. Kharaharapriya, the name used in Carnatic music for the equivalent scale.