STRINGSCALES

D dorian b2 Scale — Guitar Fretboard Visualization

Low E string: F, G, A, B, C, D, Eb at frets 1, 3, 5, 7, 8, 10, 11

A string: A, B, C, D, Eb, F, G, A at frets 0, 2, 3, 5, 6, 8, 10, 12

D string: D, Eb, F, G, A, B, C, D at frets 0, 1, 3, 5, 7, 9, 10, 12

G string: G, A, B, C, D, Eb, F, G at frets 0, 2, 4, 5, 7, 8, 10, 12

B string: B, C, D, Eb, F, G, A, B at frets 0, 1, 3, 4, 6, 8, 10, 12

High E string: F, G, A, B, C, D, Eb at frets 1, 3, 5, 7, 8, 10, 11

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D dorian b2

The dorian b2 scale, the second mode of the melodic minor scale, is dorian with a phrygian flat 2nd: minor with a natural 6th and a dark half-step opening. That combination, shadowed at the bottom and bright in the middle, works over minor 7th chords when plain dorian feels too polite, and over sus4b9 chords in modern jazz.

it consists of these notes and degrees:

D

i

Dm
E♭

bII+

E♭aug
F

bIII

Fmaj
G

IV

Gmaj
A

v°

Adim
B

vi°

Bdim
C

bvii

Cm

Characteristic notes: Eb (b2) and B (natural 6), phrygian darkness below the root, dorian brightness above it.

Same notes, different mode

D dorian b2 uses the same notes as the scales below. Start from a different note and you get a new mode built on the very same note set.

Eb lydian augmentedF lydian dominantG mixolydian b6A locrian #2B alteredC melodic minor

dorian b2 in all 12 keys, with chords and related scales

tip
  • Keep dorian's bright 6th (B) and add the dark flat 2nd (Eb): open phrases with bII (Eb) to root, close them on VI.
  • Over a sus4b9 chord, D dorian b2 (Eb) is the textbook modern-jazz choice.
  • It is the second mode of melodic minor; your D melodic minor fingering a whole step down plays it note for note.
  • Use it over a m7 vamp when plain dorian feels too polite; only one note changes, and it changes the mood entirely.

How to play D dorian b2 on guitar

Open D is the root and open A the fifth, with open G and B adding a fourth and a sixth, so four of the six strings sit in the key untouched. Roots elsewhere are fret 10 on both E strings, fret 5 on the A and fret 7 on the G. Fifth degree carries Adim instead of a major chord, which means the pull of a dominant is missing and lines have to lean on the tonic. Box work runs out at fret 14.

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