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(ok, Tyrrenhian then)
harmonic minor mainly. Which is to say, it's in minor, and the V chord is major.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Another way to think of Dorian is as a modified scale. You take the familiar major scale and play a flat 3 and a flat 7. (Compare with natural minor which has a flat 6 as well as the 3 and 7.)
Some people "get it" the first way, others the second way. It is worth teaching both because you never know which way will set off the lightbulb.
The real magic comes when you realise that the two things are really the same thing - a flat 3, flat 7 scale starting on D = all the white notes. Wow! How neat is that? (Or vice-versa.)
https://justinguitarcommunity.com/index.php?topic=48972.0
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Called relative method - "it's a C major scale with a flat 3rd and 7th"
There are only 12 notes - so there are any number of ways of describing the mode: two minor 7th chords a tone apart...
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
But when you start to analyse songs from say the Beatles, you get constantly confused as they may borrow chord from a parallel mode.
You think you may be safe say in C major with a chord progression of C Em F G and back to C then all of a sudden in the next verse Em is substituted with Eb Major from a parallel mode (either C Dorian/Phrygian/Aeolian) or the Eb leads into the Em chord