The Dorian Mode, when used as a “stand alone” tonality, can paint a wonderful musical portrait that is rich in emotional color, and very moving to the listener. As with all other modes, the Dorian Mode possesses it’s very own unique tonality and unique characteristics. More on this later.

In terms of strict theory, the Dorian Mode is created by altering the 6th degree of the Natural Minor scale, hereafter NM. More specifically, by raising the 6th degree of the NM scale. Once the 6th degree of NM has been raised, Dorian has been created. However, Ultra Guitar Method students do not have to consciously be concerned with scale tone alterations, because they are automatic and already under the fingers.

Strict theorists refer to the altered 6th of the NM scale as the Dorian 6th. Further, a very strict theorist will anticipate hearing the sound of the raised 6th in both scale (solos) and chord application (chord progressions).

Many instructors and players alike, are seriously confused when it comes to the inner workings of a strict modal application. Perhaps this is why many can only go so far with a theoretical explanation of Dorian or of any other mode. For example, how many times have you heard a guitarist exclaim “Hey, I know the modes”. OK. Then what? Where does one go from there? Is there any further explanation? Absolutely there is!

I’d wager a bet that the vast majority of players AND instructors have no idea of the in-depth application one can achieve when truly aware of the theory surrounding the Dorian Mode, or any other mode, for that matter. All it takes is an authentic understanding (education) of the related music theory and how all of that information is applied to the guitar fingerboard.

My students are smiling right now…I can tell, because, an in-depth study, analysis, and application of all of the modes and all related theory is a very small part of the overall Ultra Guitar Method program. Further, my students have to spot this stuff instantaniously (all applicaple theory), adjust and then play through the changes in real time. Does this sound a little scary? Well, it’s not. If you’re not getting this kind of instruction, then search for a more knowledgeable instructor.

Many players and sadly, many instructors, fail when approaching strict modal application. They simply do not understand how to create the “stand alone”, unique modal tonality and quality of Dorian (chords, scales, and progressions).

This, then, is where this article really begins. First, I’ll approach this subject in it’s easiest form of explanation, and then progress to a more in-depth analysis.

For the sake of example, let’s examine “D” Dorian. The scale tones for “D” Dorian are D-E-F-G-A-B-C-D (eight tones to the octave). Remember, modal application dictates the use of seven tone scales (eight tones to the octave). This is referred to as a Diatonic Scale. Not pentatonic…diatonic. Also, for this example, presume that the altered NM scale (the raised 6th) tone is already present. Therfore, the melodic structure of Dorian (for this example) has been established. But what about the harmonic structure (chords and chord function) of “D” Dorian? This is where it gets a bit sticky, but we’ll get through it.

In the spirit of simplicity, it’s best to begin understanding Dorian harmony by thinking in terms of triads. Ultra Guitar Method students know that they are able to fully extend these chords (four, five and six part chords along with certain altered notes) for a super application of Dorian. In fact, an over-the-top application of Dorian (I just love over-the-top stuff, don’t you?).

For those of you who already have a handle on the theory and application of scales and progressions pertaining to Dorian, let me share some of my own personal favorites with you.

First, the quality of Dorian is minor. Hey we all know that…right? Just look at the relationship between the root note of the chord and the 3rd. If the interval is a minor 3rd above the root note of the chord, it’s a minor chord. Whew….this is like giving birth to a baby!

There are essential elements that MUST be established in order for Dorian to emerge.

1.) The tonic note MUST be established! How can one play a “D” Dorian scale without playing the tonic note? Come on….we all know that we can jam without playing the “D” note. I’m not talking about that. I’m talking about a strict modal tonality. Establish the tonic note!

2.) The minor 3rd scale tone must be used. Share with your audience the beauty of minor. Besides, if there’s a PhD. in the audience, he/she will be expecting to hear it. Don’t place too much thought in what the “so-called” theorists might be thinking. Believe me, if you’re doing it right and truly have a calling, they’ll be envious of you. Been there, done that, have a tee-shirt.

3.) The raised 6th (NM raised 6th) scale tone must be used. This is what makes Dorian…Dorian. Once again, those who study Ultra Guitar Method are smiling, smiling, smiling!

With all of that said, there are particular chord characteristics that MUST occur. Remember, we’re examining STRICT modal approach here. They are as follows:

1.) The tonic i minor chord MUST be established. In “D” Dorian, this would be Dmi (triad). This is the tonal center. You’d definitely want to keep bringing your listener back to the tonic chord.

2.) one MUST, in addition to establishing the i minor, use at least one the other triads (exclusive to Dorian tonality) that contains the Dorian 6th. For example, the ii minor (in this case, Emi), the IV MA (in this case, GMA), or the vii dim (in this case, Bdim).

One of my favorite Dorian progressions is the i mi (Dmi) progressing to the IV MA (GMA). Similar to that of, “You’ve got change your evil ways,Baby” (Evil Ways: Carlos Santana). Gotta love Santana. Smart guy! Great player! Millions of dollars on a two chord vamp….go figure!

Other favorites (my favorites) are the i mi to the ii mi (Dmi-Emi), and the imi (Dmi) progressing to IV MA (GMA), progressing to the ii mi (Emi), progressing to the imi (Dmi), progressing to the bVII MAJ (CMA), progressing BACK to the i mi (Dmi). Note: always bring your listener back to the TONIC center.

Last, but not least, another favorite is the i mi (Dmi), progressing to the bIII MA (FMA), progressing to the IV MA (GMA), progressing to the i mi (Dmi). See, once again, we bring our listener back to the tonic i mi chord.

OK. This is the simple stuff. I have a GREAT idea. I’m willing to really dig in with DORIAN and all other modes, if the readers of this article really want to learn. How will I know? Email your requests for continuation.

That’s the deal on this one. Let me know that you’re reading, learning and interested and I’ll continue. Simple!

Until next time…practice, practice, practice!

Ultra Guitar Method™

© 2007-2008 Michael E. Fletcher. All Rights Reserved Worldwide.

The Aeolian Mode is just one of the seven essential modes that every guitarist should have in his/her arsenal. Of course, the other modes are Dorian, Phrygian, Mixolydian, Lydian, Ionian, and Locrian. All of these are essential guitar scales that should be practiced daily.

The Aeolian mode (also known as the pure minor scale or Natural Minor), as a stand alone musical mode (scale), is absolutely beautiful in sound and structure. Personally, I believe the Aeolian Mode to be the center of the musical universe. I, among others, believe this to be true for many reasons. Therefore, several of these reasons will be discussed throughout this article. You then, the reader, can decide for yourself as to the importance you place on this particular mode.

The quality of the Aeolian Mode is minor (minor 3rd interval between the root note of the scale and it’s 3rd). For purposes of application, the following elements apply:

1) The tonic note of the Aeolian mode must always be established. In other words, if we were analyzing a C Aeolian scale, the root note C must be voiced (established; played). It’s always important to establish a tonal center with any mode.

2) The third scale step must be used in order to establish the minor quality of the Aeolian Mode.

3) Only the natural 6th and 7th degree scale tones (no alterations) be used to attain and preserve the Aeolian modal flavor or essence.

Thus far, we’ve established the tonic note, the minor 3rd, and the use of the natural 6th and 7th degree scale tones for the Aeolian mode. It’s safe to say that Aeolian, at this point, has been born.

It’s helpful to think of the Aeolian Mode as being rooted on the sixth degree of the major scale. For example, the scale tones for the C major scale are C-D-E-F-G-A-B-C. Therefore, the Aeolian root note would be A (rooted on the sixth degree of the major scale). Thus, A-B-C-D-E-F-G-A (Aeolian). Do you notice that the tonic note is present? Do you notice that the distance between A and C is a minor third interval? Also the 6th and 7th degree scale tones are natural (no alterations). This is why I offered this particular example in the key of C major (key of no sharps, no flats). It’s easier to keep track of the theory.

keep in mind that, the actual theory involved here, ironically infers altered scale tones once we discuss key signatures other than the key of C major (key of no sharps). In the key of C major, half steps automatically occur between the 3rd and 4th degrees of the major scale, and then once again between the 7th and 8th degrees of the C major scale (no alterations are necessary). In every other key signature, the degrees of the scale must be altered (using sharp signs or flat signs) in order to create the specific formula needed (whole steps and half steps) to establish a major scale.

Once again, for purposes of this article we will be utilizing the C Aeolian Mode. By adding some difficulty, the learning process will be authentic. Therefore, prepare yourself for just a little confusion. However, with some concentration, any initial confusion should clear up shortly.

The Aeolian Chords are: I minor, II diminished, bIII major, IV major, V minor (7), bVI major, and bVII major. There are typical and then, very strong Aeolian chord progressions. We’ll examine both in this article.

TYPICAL AEOLIAN PROGRESSIONS: study the following progressions and transfer them to your guitar.

1) I minor (C minor) progressing to the bVII major (Bb major), progressing to the I minor (C minor), progressing to the bVII major (Bb major), progressing to the bVI major (Ab), progressing to the bVII major (Bb), progressing to the I minor (C minor).

NOTE: Notice that we brought our listener back to the tonic I minor (C minor). It’s very important to establish a tonal center.

2) I minor (C minor) progressing to the bVII major (Bb), progressing to the bVI major (Ab), progressing to the IV minor (F minor), progressing to the I minor (C minor).

3) I minor (C minor) progressing to the bVI major (Ab), progressing to the IV minor (F minor), progressing to the V minor (G minor), progressing to the IV minor (F minor), progressing to the I minor (C minor).

4) I minor (C minor) progressing to the bVII major (Bb), progressing to the IV minor (F minor), progressing to the I minor (C minor), progressing to the V minor (G minor), progressing to the I minor (C minor).

5) I minor (C minor) progressing to the V minor (G minor), progressing to the I minor (C minor), progressing to the bIII major (Eb major), progressing to the IV minor (F minor), progressing to the I minor (C minor).

NOTE: Do not emphasize the bIII major because it tends to suggest the I major chord in the actual key signature. This takes away from the Aeolian flavor.

6) I minor (C minor) progressing to the IV minor (F minor), progressing to the bVII major (Bb), progressing to the bVI major (Ab), progressing to the I minor (C minor). The I minor, bVII major, to I minor are very strong Aeolian progressions, as well as the I minor, bVI major, bVII major, to the I minor.

It’s best to think of using triads (three part chords) when engaging in an Aeolian progression. My personal students are taught how to extend all chords to their fullest diatonic range. This adds flavor to any progression but will, most likely, annoy the strict theorists. There’s something to be said about Pop-Rock; we can get away with a lot of rule breaking and our audiences love it.

In the end, music is based on sound. All of the theory in the world is just theory unless analyzed, practiced, and implemented. The guitar is a wonderful instrument. We should all strive to continuously educate ourselves in order to unlock it’s endless secrets.

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.

The Mixolydian Mode is a great guitar scale to use against dominant types of chords. In essence, the Mixolydian Mode is a major scale that contains a minor 7th interval between the root note of the scale and it’s 7th degree. This minor 7th interval gives the Mixolydian Mode it’s dominant flavor. In a traditional major scale, the 7th degree interval is a major 7th not a minor 7th degree. Hence, dominant.

In order for a true Mixolydian tonality to emerge, the tonic note must be established, the major 3rd scale tone must be voiced, and the lowered 7th scale tone must be used. Otherwise, Mixolydian tonality is not authentic.

There are some general rules applicable to Mixolydian chords and progressions. For example, one must always use the I major chord (this establishes the tonic home-base for the listener), and the V minor or the bVII major chord(s) must be used so that the b7th scale tone is actually sounded. For this particular article, we will be analyzing the C Mixolydian Mode (scale) and it’s corresponding tonality (chords and scale tones).

The following chord progressions are strong Mixolydian progressions. It’s best to think in terms of triads when using the specific chords necessary to portray Mixolydian tonality. However, when these chords are extended to their diatonic 7th’s, 9th’s, and 13th’s, a very contemporary flavor and sound will emerge.

1) I major (C major) progressing to the bVII major (Bb major), progressing back to the I major (C major).

2) I major (C major) progressing to the bVII major (Bb major), progressing to the V minor (G minor), progressing to the IV major (F major), progressing back to the I major (C major).

3) I major (C major) progressing to the IV major (F major), progressing to the bVII major (Bb major), progressing to the I major (C major).

4) I major (C major) progressing to the V minor (G minor), progressing to the I major (C major).

5) I major (C major) progressing to the V minor (G minor), progressing to the VI minor (A minor), progressing to the IV major (F major), progressing to the I major (C major).

6) I major (C major) progressing to the V minor (G minor), progressing to the IV major (F major), progressing to the V minor (G minor), progressing to the I major (C major).

7) I major (C major) progressing to the V minor (G minor), progressing to the bVII major (Bb major), progressing to the V minor (G minor), progressing to the I major (C major).

Note that in all of the above referenced chord progressions, the tonic was always established. In other words, the listener was given a strong starting point for tonality and a strong return to the tonality. Always remember to define a strong tonality for the audience. Subconsciously, a listener doesn’t enjoy being left up-in-the-air musically. Give them something to hold on to.

The Mixolydian Mode, as with all other modes, has it’s own unique characteristics. It is beneficial for all guitar players to learn (or remember) these characteristics. The small details can, sometimes, make the difference between a great guitar solo (or chord progression) vs. a mediocre guitar solo or performance. But this is just the beginning. We’re barely scraping the surface here. As any of my students would testify, the rabbit hole gets deeper and deeper. However, their actual education gets easier and easier. The application becomes automatic for them.

It’s absolutely refreshing and empowering to approach an authentic playing situation with confidence. How is this achieved? Education and practice. There’s mental and there’s physical. One without the other is incomplete.

There are many guitarists who play extremely well. However, the truth be known, there are, most likely, giant gaps in their understanding of key signatures, key changes, chord construction, scale application, intervals, substitution principles, and much, much more. Does this make them any less of a musician (in their own realm) than anyone else? Of course not. Could they become better as a result of a pro-end education? Absolutely yes.

Something as simple as the Mixolydian Mode, it’s analysis and understanding, has the potential to launch an entire new desire to progress as a guitarist. It’s amazing how much music can result from simple concentration and practice. As a player, there’s good and there’s great. The difference is the decision to progress.

For those of you contemplating guitar lessons, make sure that you are well matched with your guitar instructor. Define your goals and don’t waste time. If your goal is to play a few songs and strum a few chords, then almost anyone can help you with that goal. If your goal is to progress beyond your favorite artist, then you should aim for the best-of-the-best for instruction and educational material (theory and application).

Until next time, practice, practice, practice.

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.

First and foremost, for those of you who have not read my previous article pertaining to the the Aeolian Mode, it would be beneficial for you to do so. Otherwise, this particular article might become confusing at times. It’s always best to build a solid foundation of understanding before engaging in progressive principles.

As we have previously discovered, the Aeolian Mode is a minor scale. It is also referred to as the Pure Minor Scale or the Natural Minor scale. It has several unique characteristics both in sound and application (see previous article for explanation). Further, the Aeolian Mode (scale) is rooted on the 6th degree of it’s respective major scale. Once again, read the previous article for all of the essential details surrounding the Aeolian Mode.

As guitarists, an important element of performance is to establish a tonal center for our audience to hold on to. Tonic absolutely rules when establishing any tonality. What is meant by tonality? All of the notes and chords that belong in or to any piece of music.

Try this simple chord progression. Play an A min 7 chord for two measures. Progress to a D min7 chord for one measure, then return to the A min7 chord. We just established a tonality; a tonal center. The A min7 chord functions as the I minor (the tonic, home base). The D min7 chord is a great movement away from the tonic and functions as a IV minor. Returning to the A min7 chord (I minor), after playing the IV minor (D min7), is like a breath of fresh air. Everything sounds right.

The Aeolian Mode (Natural Minor Scale) played at the fifth fret (A), will establish the melodic tonal center for the above referenced progression. In short, we just created a minor tonality both in harmonic structure and melodic structure.

The associated major key signature for this example is C major. Remember, the Aeolian Mode is rooted on the 6th degree of it’s own respective major scale. A is the 6th degree of the C major scale. Therefore, it is referred to as the Relative Minor for the key of C major (see previous article).

Relative Minor and Parallel Minor key signatures are great tonalities to establish in order to take your listener away from the respective major scale. It is this movement away from the major tonality that provides interest and color for the listener to experience. Tonality and movement (musical motion) is everything when painting a musical portrait.

In my opinion, Parallel Minor is the greatest an best movement away from the major key signature. A I minor, IV minor progression in Parallel Minor is C minor7 to F minor7. This is a complete departure from the major key (C major) tonality. In the key of C major, the I chord is C major and the IV chord is F major. In the key of C parallel minor, both the C major chord (I major) and the F major chord (IV major) become minor chords (the 3rd of each chord is lowered by 1/2 step to create minor). Note that when Aeolian is played as Relative minor, the chords still reflect the major key signature. There is more contrast when played as Parallel minor. When Aeolian (or any of the other traditional minor scales; subjects for future articles) is played at C, it is referred to as parallel (key of C major) minor to the key of C major. Therefore, for the key of C major, there are two traditional minor key signatures; Relative and Parallel.

This article is a very basic approach to the two types of minor key application. For an in-depth analysis, it’s best to seek out an instructor or program that is very descriptive. The intent here, is to merely skim the surface with some of these concepts.

Once again, it’s important to become educated in music. An authentic understanding of music theory will help in all areas of music. Understanding the function of scales and chords enhances one’s ability to compose, perform, arrange, and produce music. Knowledge is power.

Contrary to what some might think, obtaining a great foundation in music theory doesn’t take years. It takes the desire to learn and a logical approach to these principles. A professional guitar course can chop years off the time it would take for one to learn these concepts in a traditional college or university setting.

There are many things to consider when establishing a minor tonality. Too many to discuss in this article. However, many of these subjects will be addressed in future articles. Stay tuned.

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.

For those of you who have been following my series on guitar modes, you already know that I don’t waste words when it comes to explaining the theory and application surrounding each mode. However, keep-in-mind that there is rich history surrounding each mode. When you have time, research the history. I think you’ll find it very interesting.

Thus far, my approach to explaining the modes is more contemporary. This is done intentionally, as not to confuse the reader with different historic views and applications. However, in the future, I will build on what I’ve already explained in the entire series. Once again, this is intentional. Why? Foundation! It’s important that the reader develop a strong foundation in understanding the modes in their purest forms. Thereafter, more in-depth theory will become easier to understand.

The Phrygian Mode is created by lowering the 2nd degree of the Aeolian Mode, resulting in a very dark musical effect. It’s all about color (see previous articles).

In order for a true Phrygian tonality to emerge, study the following Phrygian Mode elements (essential to Phrygian.

1.) The Tonic note must utilized (established).

2). The minor 3rd scale step (b3rd) must be used to establish a minor scale quality.

3) The b2 (lowered 2nd) scale tone must be used because it is the characteristic sound of Phrygian.

Remember, The Phrygian Mode is a specific type of minor scale. It’s tonality is unique. In addition, Phrygian chords and Phrygian chord progressions are also unique. Study the following Phrygian chord elements.

1.) The Tonic I mi chord must always be established.

2.) The bVII mi chord, the bII MA chord, and the V dim. chords should be used for Phrygian flavor.

Phrygian Sale Tones (E Phrygian): E-F-G-A-B-C-D-E

Phrygian Chord Progressions:

1.) Imi (Emi) progressing to the bVII mi (Dmi), progressing back to the tonic Imi (Emi). Emi-Dmi-Emi.

2.) Imi (Emi) progressing to the bIIMa (FMa), progressing back to the Imi tonic (Emi). Emi-FMa.

3.) Imi (Emi) progressing to the IVmi (Ami), progressing to the bVIImi (Dmi), back to Imi (Emi). Emi-Ami-Dmi-Imi.

4.) Imi (Emi), to bIIMA (FMa), to bVIImi (Dmi), to Imi (Emi). Emi-FMa-Dmi-Emi.

The Phrygian chord progressions referenced above are great progressions against the Phrygian Mode.

As explained earlier, there are other Phrygian applications. For example, The Phrygian Dominant Scale is created by raising the 3rd degree of the Phrygian Scale as we studied above. Many Spanish-Flamingo players alternate these two scales when employing a Flamingo style. In fact the Phrygian Dominant Scale is also referred to as the Spanish Gypsy Scale.

From here, the theory gets thicker and thicker. It is not the goal of this article to create confusion for the reader. The goal is to offer a quick and easy approach to understanding the Phrygian Mode. The quicker the understanding of Phrygian theory, the quicker one can execute performance. Once again, this is exactly why a solid foundation and understanding is so important. Knowledge is power. Please folks, never forget that. Knowledge is power!

For those of you who, for one reason or another, have been putting off your progression through education,,,please stop this go-nowhere procrastination. Education is the vehicle to musical power. Don’t take this lightly!

Make this year, the year that nothing will stop you from progressing as a guitarist. There is absolutely no reason that should prevent you from becoming a better guitarist. He who hesitates is bossed! Remember that. If you don’t take care of yourself…who will?

©2009 Michael E. Fletcher. All Rights Reserved Worldwide.

Ultra Guitar Method has been deemed as the best educational guitar method available. Thousands of guitarists around the world have found Ultra Guitar Method to be exactly what it professes to be, educational and profound in application. The key word here is EDUCATIONAL!

What Ultra Guitar Method IS NOT: is a guitar video that will teach a guitarist a bunch of mindless licks and tricks. Guitars will not dance on one’s computer screen when Ultra Guitar Method is downloaded. Further, there are no fireworks displays on the ultraguitarmethod.com website. Ultra Guitar Method will NOT make a guitarist a fire-breathing Dragon overnight.

What Ultra Guitar Method IS: a professional, home study, guitar curriculum designed to enable the guitarist to out-think the competition by understanding theory and application in a very unique and profound way.

If one is truly ready to learn and study, then Ultra Guitar Method is the professional road map that will act as a GPS, guiding one to the overall command of the guitar fingerboard. How can this be done? EDUCATION!

As the author of Ultra Guitar Method, I can safely say that the method was designed to educate those guitarists who, most likely, devoted most of their early years as players to learning chords, progressions, scales, and solos, but forgot to do one thing…LEARN THE HARDCORE THEORY AND APPLICATION that is the foundation for all of music, regardless of instrument.

Does this mean that Ultra Guitar Method is a boring, ho-hum course similar to that of a college guitar course. ABSOLUTELY NOT. In fact, it’s the exact opposite. It’s an exciting pro-end type of guitar course. Ultra Guitar Method is the type of curriculum that a Steve Howe (previous guitarist of YES) would absolutely love or a David Gilmore (Pink Floyd) would love. Why? Because it takes an already established talent and ability to a HIGHER level. This is what is meant by pro-end.

If one only needs a “C”, “F”, and “G” type of method, then they’d be better served by skipping Ultra Guitar Method for a few years. I do not mean this as an insult to any player at any level. However, honesty is the best policy when it comes to a product such as Ultra Guitar Method. It truly was authored with the intent of higher education, in the pro-end, “hip”, sense of the word.

As Ultra Guitar Method developed, I was literally hammered by my associates to make videos and CD’s of the method. Through the years, I have managed to resist these offers. Why? Look at the price of each volume…$19.95. This is less than the cost for a breakfast at Denny’s folks. I appreciate the input from everyone regarding cost factors. The truth is, Ultra Guitar Method is the equivalent of an approximate $8,000.000-$10,000.00 education and most of my private students have paid this amount in order to achieve their goals.

Could we charge more (per volume) for Ultra Guitar Method? Absolutely we could. How does $30-$35.00 per volume sound to you? In the world of marketing, this would probably work. However, this wouldn’t help the guitarist in middle America who’s about to spend his/her hard earned money, entirely on faith. Yes, give me a million of this type of individual. An individual who truly, truly wants and needs to learn…I’ll help this type of individual every single time, and for the least amount of money possible. This is what Ultra Guitar Method is really all about…educating those truly in need… for a “below” reasonable cost.

For those who are still wondering if their $19.95 will be well spent, please read the student endorsements at ultraguitarmethod.com. These testimonials are typical of ALL who study Ultra Guitar Method. We published them there to help one decide whether or not Ultra Guitar Method is worthy of their attention.

One thing is for certain, do not undertake Ultra Guitar Method unless you’re ready to make musical break-throughs. In the long run, you’ll be glad that you did.

Ultra Guitar Method is an extreme education which will enable one to command the entire guitar fingerboard in any playing situation. Whether in the studio, on the stage, or in composition, Ultra Guitar Method is designed to EDUCATE!

©2008 Michael E. Fletcher. All Rights Reserved.