Desi Serna

Video / Updated 11-09-2022

Open chords are chords that fall within the first four frets typically using open strings. They sound twangy because they include unfretted strings that are permitted to ring open. This chart represents 24 of the most useful open chords you use to play guitar:

Article / Updated 09-22-2022

You can use chord patterns to track chord progressions in the open position on the guitar, although doing so takes some extra work and requires that you identify the actual note name of each chord. To play in the key of G using common open chords, visualize the 6th string chord pattern starting on G at the 3rd fret and replace each barre chord with an open chord. Here’s how: Visualize the 1st barre chord, the I chord (G), but play an open G chord instead. Visualize the 2nd chord, the ii chord (Am), but play an open Am instead. Because there’s no open chord iii (Bm), play Bm at the 2nd fret of the 5th string close to the open position instead. Use common open chords to play chords IV, V, and vi (C, D, and Em). Play through all the chords forward and backward, calling out the numbers as you go. Follow along with your eye using the 6th string chord pattern even though you’re not using its barre chords. After you get the hang of playing like this in G, you can move the chord pattern and use open chords in other keys like F and A. When you do this, play open chords when you can and use the barre chords to fill in the rest, staying as close to the open position as possible. For example, in the key of F, you can play the Am, C, and Dm as open chords, but you have to use the barre chords to play the rest. In the key of A, you can play A, D, and E as open chords, Bm and C♯m at the 2nd and 4th frets of the 5th string, and F♯m at the 2nd fret of the 6th string. Do the same thing with the 5th string chord pattern starting in the key of C. In C, you can play all the chords as open chords except for F, which guitarists usually play as a partial barre chord when it’s paired with open chords. Move the chord pattern and use open chords in other keys; just remember to stay as close to the open position as possible when you need to fill in with barre chords.

Article / Updated 09-16-2022

A triad is a set of three notes stacked in 3rds. Playing in 3rds on the guitar means that you start on a scale degree, count it as “1,” and then move to the scale degree that is three away, “3.” For example, the G major scale is G-A-B-C-D-E-F♯. If you start counting from G, then the 3rd is B (G-A-B, 1-2-3). If you start counting from A, then the 3rd is C (A-B-C, 1-2-3). A triad is three notes that are all a 3rd apart. For example, in the G major scale, G and B are a 3rd apart and B and D are a 3rd apart. Together all three of these notes are a 3rd apart, called two consecutive 3rds. G-B-D make a G triad. You also call the members of the triad root, 3rd, and 5th because counting from the starting point, G, B is the 3rd degree and D is the 5th. G A B C D E F♯ 1 2 3 4 5 6 7 G B D 1 3 5 Harmonizing a root, 3rd, and 5th together (in other words, playing them simultaneously) produces a chord. Basically, the difference between any old chord and a triad is that a chord is a group of three or more notes, and a triad is specifically a root, 3rd, and 5th. You build triads on all scale degrees by following a formula of 3rds. Not all triads are the same. Because of the half step and whole step formula of the major scale, some 3rds are closer or farther apart than others. As a result, there are major triads and minor triads. One triad is diminished. Major triad: Building from the 1st scale degree of the major scale Building a triad starting from the 1st degree of the major scale produces a major triad. Sounding the triad’s notes produces a major chord. In the first diagram, you see all 7 degrees of the G major scale in one sample position. In the second diagram, you see just the root, 3rd, and 5th triad. When you strum all three of these triad notes simultaneously, you play a chord. Specifically, this chord is G major — G because the root is G and major because the distance between the root and 3rd is two whole steps, which make up a major 3rd. The third diagram shows you that the actual note names of the G triad are G, B, and D. Credit: Illustration courtesy of Desi Serna A G major chord is always made from the notes G-B-D; however, you can have more than one occurrence of each note. For example, you can play a G major chord as G-B-D-G or G-B-D-G-B. You can even stack the notes out of order like this: G-D-G-B. Whatever order you play the notes in and however many occurrences of each note you play, all combinations of G-B-D produce harmony that’s recognized as a G major chord. Notice that these common G major chord shapes all use the same notes, although not necessarily in the same number or order. Chords like the ones shown here are considered triads because, technically, they’re still based on three pitches even though they vary in the exact number and order of their notes. Credit: Illustration courtesy of Desi Serna Minor triad: Building from the 2nd scale degree of the major scale Using the G major scale, count one-two-three-four-five from the 2nd degree, A (A-B-C-D-E), and take every other note, 1-3-5 or A-C-E. This is an A minor triad — A because the root is A and minor because the distance from 1 to 3 is a step and a half, which makes up a minor 3rd or flat 3rd (♭ó3) interval. Check out how to build a triad from the 2nd major scale degree, A. The major scale used here is exactly the same as the one used for the previous triad, G major. The only difference is that you’re now counting from the 2nd scale degree, A, to determine its 3rd and 5th. The G note was left at the 3rd fret of the 6th string blank so that you know not to start on it. You can play the note A either on the open 5th string or at the 5fth fret of the 6th string. You need to do the latter to play the triad as a chord. You can see that the notes of this A minor triad are A-C-E. Credit: Illustration courtesy of Desi Serna Notice that these common A minor chord shapes all use the same notes, although not necessarily in the same number or order. (In case you don’t know, an “X” at the top of a string indicates that you don’t play that string.) Credit: Illustration courtesy of Desi Serna

Article / Updated 07-22-2022

You can’t talk about blues on the guitar without mentioning the so-called blues scale, which is really just a pentatonic scale with a chromatic passing tone. This added scale tone is a f5th in the minor pentatonic. When the pattern is applied as major, the same note in the patterns becomes a f3rd. Here is an example that includes A minor pentatonic patterns with added f5ths shown in gray. Credit: Illustration courtesy of Desi Serna You can see an example in Chapter 15, Video Clip 38: Playing the Blues Scale. You don’t have to memorize and practice all these blues scale patterns, but you should at least try them all and commit the first one to memory. That way, as you work through songs with blues elements in them, you’ll be able to make sense of any f5ths you see. Because C is the relative major to A minor, you use the same notes and patterns to play C major pentatonic that you use to play A minor pentatonic. The only difference is which note functions as the tonic and counts as the 1st scale degree. Here are the same patterns redrawn with the C notes marked as 1. Everything has been renumbered from there. So what was a f5th in the A minor blues scale becomes a f3rd in the C major blues scale. Credit: Illustration courtesy of Desi Serna You can transpose blues scale patterns to play blues scales in other keys. For instance, if you want to play a minor blues scale for a particular note on the 6th string, put your 1st finger on it and play the 1st pattern. If you want to play a major blues scale for a note on the 6th string, put your 4th finger on it and play the 1st pattern. Putting your 4th finger on a note means that you actually start the 1st pattern three frets lower with your 1st finger. For example, the 1st A minor blues scale pattern starts at the 5th fret with the 1st finger. The 1st A major blues scale pattern starts at the 2nd fret with the 1st finger, putting your 4th finger at the 5th fret on A. Songs that make use of the major or minor blues scale at some point include the following: “Black Dog” by Led Zeppelin “The Devil Went Down to Georgia” by the Charlie Daniels Band “Heartbreaker” by Led Zeppelin “Love Her Madly” by The Doors “The Old Man Down the Road” by John Fogerty “Pride and Joy” by Stevie Ray Vaughan “Roadhouse Blues” by The Doors “Rock and Roll, Hoochie Koo” by Rick Derringer “Sir Duke” by Stevie Wonder “Sunshine of Your Love” by Cream “Take It Easy” by the Eagles “Truckin’” by Grateful Dead Some songs, like “Black Dog” by Led Zeppelin and “Manic Depression” by Jimi Hendrix, make use of an additional chromatic passing tone in the pentatonic scale. Specifically, they add a chromatic step in between f7 and 1 in the minor pentatonic, as shown here. Credit: Illustration courtesy of Desi Serna Whenever you’re applying the pentatonic scale, whether it’s major or minor and whether you’re using it on a blues song or something else, you can always try using chromatic passing tones. If they sound good to your ears, go with them. If they don’t, skip them. Blues music often features chromatic passing tones. Whenever you come across a run of three or more notes in consecutive frets, you’re probably just connecting pentatonic scale tones with chromatics.

Article / Updated 07-22-2022

Blues-based music on the guitar usually applies all three of the scales (that is, the major and minor pentatonic, as well as the full dominant scale) by mixing them up on the fretboard. To begin this mix, combine the major and minor pentatonic scales, as shown here. Credit: Illustration courtesy of Desi Serna You can see an example in Chapter 15, Video Clip 36: Mixing Major and Minor Pentatonic. Notice that the mixture of both major and minor pentatonic scales includes all the notes from the dominant scale, too. So you’ve covered all your bases! You can move these scale patterns around the fretboard to play over other dominant 7th chords. For example, move everything up one fret to play over Bf7. Move everything down two frets to play over G7. You get the idea. The following songs provide perfect examples of mixing major and minor pentatonic scale patterns over a chord with a dominant 7th tonality: In “Johnny B. Goode” by Chuck Berry, most of the guitar solos, including the famous opening to the song, are based in the pentatonic mix except that it’s moved up one fret to Bf. “Crossroads (Live at Winterland)” by Cream, featuring Eric Clapton, is based in A and uses both A major and A minor pentatonic, sometimes mixed together, and other times used independently. In “Sunshine of Your Love,” also by Cream, Clapton alternates between D major and D minor pentatonic scales. Some other songs that feature lead guitarists either mixing or alternating between major and minor pentatonic scales include “All Right Now” by Free (A) “Flirtin’ with Disaster” by Molly Hatchet (E) “Get Back” by The Beatles (A) “Hard to Handle” by The Black Crowes (B) “Red House” by Jimi Hendrix (B with guitars tuned down one half-step to Ef)

Article / Updated 07-22-2022

After you know how to approach a dominant 7th chord in a blues fashion on the guitar, you’re ready to tackle a whole chord progression. The most common type of blues chord progression is the so-called twelve-bar blues. It’s based on what appears to be the I-IV-V chords of a key, and it’s actually one of the most popular chord progressions in all of popular music. The twelve-bar blues chord progression has many variations. Here is one very basic example in A. This example has three parts. The first guitar is playing a typical shuffle rhythm, using 5ths and 6ths, while the second guitar is strumming some 7th and 9th chords on the upbeat. The third part is a walking bass line drawn from the dominant scale of each chord. Credit: Illustration courtesy of Desi Serna Credit: Illustration courtesy of Desi Serna You can hear and play along with Chapter 15, Audio Track 23: Blues Play-Along Track in A. You can see how to play over a 12-bar blues progression in Chapter 15, Video Clip 37: Playing Over a 12-Bar Blues Progression. Blues progressions like the one shown are considered to be I-IV-V progressions. However, only one scale degree produces a dominant 7th chord, and that’s the 5th, V. So because each chord is some form of dominant 7th, each one is actually a V7 chord from a different scale. In other words, blues progressions are really V7-V7-V7, with each V7 chord representing a different parent major scale. The chords in the diagram break down like this: A7 is V7 from the D major scale. D7 is V7 from the G major scale. E7 is V7 from the A major scale. You can see these in the bass line. The bass plays the 1st, 3rd, 5th, 6th, and f7th on each chord. These intervals are drawn from each chord’s parent major. You can think of each scale as being Mixolydian since the 5th is the tonic. Because the 5th mode is better known as the dominant scale, the scales used over each chord are A dominant, D dominant, and E dominant. Here’s another thing to consider: Each chord is drawn from a different parent major scale, so each chord change is technically a key change. But because the tonic chord in the whole progression is A, musicians think of everything as being in the key of A, which is why they still count the chords as I-IV-V. Notice that the key signature is A major throughout and that each chord requires the use of accidentals, except for E7, which is drawn from the A major scale. Here are different ways to play the twelve-bar blues progression, using the example shown. As you experiment with these options, remember to walk before you run. Start with an easy option, like sticking with one pentatonic scale over a whole progression, and gradually add on from there as you become more proficient. How to switch dominant scales on the blues guitar As you play over these blues changes, you can switch dominant scales as you go. You don’t have to stick to the intervals and patterns that the bass uses. Instead, feel free to play in any position on the neck and use any degrees from the scales. Here is one way to switch scales by staying near the 5th position. Credit: Illustration courtesy of Desi Serna Note: The patterns shown here are simply major scale patterns. Just because they are labeled as dominant scales doesn’t mean they’re new patterns. Refer to the parent major scales in parentheses if you need help identifying them. Each pattern starts on the tonic of each dominant scale, but you’re free to play any other notes that belong to the scale, including those that may occur below the tonics. How to play minor pentatonic on the blues guitar Knowing how to play and switch full dominant scales is important to understanding how a blues progression is put together and how you can approach such a progression as a soloist. However, blues guitarists usually opt for a different and much simpler approach. The preferred scale among blues players is the minor pentatonic, and instead of switching scales, they stick with one minor pentatonic scale over the whole progression. How to use a major pentatonic scale on the blues guitar Using minor over major is by far the most common choice among blues soloists, but another option is to play a major pentatonic scale over a whole blues progression. For example, you can use A major pentatonic over everything. The sound isn’t quite as bluesy, but it works. When bluesmen use the major pentatonic, they usually mix it with the minor pentatonic, as you hear in songs like “Johnny B. Goode” by Chuck Berry, “Crossroads” by Cream, and “All Right Now” by Free. Keep in mind that this blues technique is very popular and also applies to other styles of music, especially rock, pop, country, folk, and jazz. How to change pentatonic scales on each chord Aside from sticking with one pentatonic scale over a whole blues progression, you can also change pentatonic scales on each chord. So in you’d play A pentatonic over A7, D pentatonic over D7, and E pentatonic over E7, with the use of major or minor, or a mix thereof, being your choice. Generally speaking, rock and blues players like to keep things simple and stick with pentatonic scales that correspond only to the tonic chord in a progression. Changing scales over each chord is far more common in country and jazz. However, a good example of a blues-based song that does some switching over chords with major and minor pentatonic scales is “Keep Your Hands to Yourself” by Georgia Satellites.

Article / Updated 07-22-2022

When you’re ready to cover the entire fretboard on the guitar with the harmonic minor scale, you have a couple of choices to make. First, you have to decide how you want to organize the notes of the harmonic minor scale into patterns. To keep things simple, here are you five patterns. Over time, these patterns will start to run together, and you’ll stop thinking of them in only the five forms shown here. After you choose which patterns you want to practice with, you need to decide which fingerings to use. You don’t have to use all the patterns shown here or even all the parts of each pattern. Most guitarists find a few that they feel most comfortable using. So the process of learning harmonic minor scale patterns is really about exploring your options and deciding what works best for you. How to pick out patterns The first diagram shows you all the notes of A harmonic minor across the whole fretboard. The second through sixth diagrams break the scale into five different positions or patterns. The last diagram is a variation on the first pattern (the one in the open position in the second diagram). You can continue to connect patterns until you either run out of fretboard or can’t reach any higher. Credit: Illustration courtesy of Desi Serna Notice that the patterns in don’t have numbers assigned to them. If you ever see these patterns paired with numbers, they’re arbitrary and simply for reference. You can see an example in Chapter 14, Video Clip 35: Full Harmonic Minor Scale Patterns. How to focus on fingering With the harmonic minor scale, some strings have four notes on them. You can try fretting groups of four by using fingers 1-1-3-4, but as with all fingerings, the exact fingering you use is really a matter of preference. So take some time to figure out what works best for you. Here is one fingering example. This is the pattern that fits over an Em form barre chord. Numbers here represent the four fingers on your fretting hand. Credit: Illustration courtesy of Desi Serna Practice, practice, practice! Even after you understand how to play the harmonic minor scale, you may be unsure about how to actually use it to make your solos sound good. This is where practicing different songs that use the harmonic minor can help you. All harmonic minor songs have melodies, riffs, guitar solos, and bass lines that can help you work on different licks and phrases. Get their recordings and guitar tabs to start working out their various parts. After you learn a particular part, practice playing it along with the song. Mix the licks and phrases up, playing them in different orders. Try similar licks and phrases on different songs in the same key or transpose them to other keys. Just make sure you apply the harmonic minor only to the V7 chord. Mastering the complete harmonic minor scale is a slow, gradual process that requires a lot of work, so don’t give up when the going gets tough! How to transpose the harmonic minor scale to new keys When you’re comfortable playing in the key of A harmonic minor, you can start the patterns in a different position and play in other keys. Just keep track of where the scale tonic is in each pattern, specifically the tonics that land on the 6th and 5th strings, the strings most ­guitarists use to track scales and chords on the fretboard.

Article / Updated 07-22-2022

The raised 7th in the harmonic minor scale on the guitar is the same pitch as the 3rd of the V7 chord. For example, in A harmonic minor, the Gs is also the 3rd of E7. When you play the Gs over E7, you’re outlining the E7 chord by emphasizing one of its chord tones, the 3rd. You can also outline E7 by emphasizing any of its other chord tones. Take a look at an E arpeggio pattern in the pentatonic: E, Gs, and B. Here is an E major arpeggio pattern combined with A minor pentatonic. The CAGED form used here for the E chord is the C form. The arpeggio is shown in black, and the rest of the scale is in white. The numbers identify the root, 3rd, and 5th of the E chord. Credit: Illustration courtesy of Desi Serna Use any examples or songs that use Am and E7 to practice outlining the complete E major arpeggio over the V7 chord. Try to target one of its chord tones on the first beat of the V7 chord. You can also play several of the chord tones during the measure as time allows. When the progression returns to the Am chord, stick with A minor pentatonic notes and avoid the raised 7th of the harmonic scale, or the Gs. The root and 5th of E should still work over the Am chord. After all, the note E belongs to A minor pentatonic, and the B belongs to the A natural minor scale. So in some ways, you’ve just picked up an extra note for your pentatonic patterns — B, in this case — which you can use over both the tonic and dominant chords. So far, you’ve used a major triad arpeggio to play over a dominant 7th chord, but you can also use a complete dominant 7th arpeggio. Here is an example. You need to add only one note, the note D, to an E chord to make E7. D also belongs to both A minor pentatonic and natural minor scales, so you can use it over both the Am and E7 chords. Credit: Illustration courtesy of Desi Serna At this point in your practice, you may have a hard time keeping track of a full dominant 7th arpeggio. If that’s the case, simplify your practice by using just one part of the arpeggio instead of trying to cover all of it. For example, focus on strings 1, 2, and 3. Or skip the dominant 7th for now and just work with the basic triad for a while. Over time, you can gradually add in more notes and transpose to new keys as you become more proficient. You can see this in Chapter 14, Video Clip 34: Outlining the V7 Chord in Harmonic Minor.

Article / Updated 07-22-2022

Before you dive into the harmonic minor scale on the guitar, you need to understand the concept of dominant function. Basically, dominant function is the tendency of the dominant chord, chord V, to pull to the tonic, chord I, in a key. Similarly, secondary dominants are a way of using the dominant sound to strengthen a progression toward chords other than the tonic. Some examples include II7 leading to V, VI7 leading to ii, and III7 leading to vi. In the latter example, III7 leading to vi creates the harmonic minor scale. In order to change what is normally a minor iii chord to a major III chord, the 7th note of the relative minor scale is raised. III7-vi is a very important chord change in music because it uses dominant function to lead to the relative minor — one of the most common types of keys. Because musicians prefer to think of the relative minor tonic as “1,” you can also think of III7-vi as V7-i in the relative minor key with the major V chord a result of the harmonic minor scale. How to raise to the 7th scale degree on the guitar One way to think of the harmonic minor scale is as an altered version of the natural minor with its 7th scale degree raised by a half step. For example, when you play an A minor scale and raise the 7th G to Gs, you’re playing an A harmonic minor scale: A Natural Minor 1-2-f3-4-5-f6-f7 A-B-C-D-E-F-G A Harmonic Minor 1-2-f3-4-5-f6-7 A-B-C-D-E-F-Gs The chords of the A minor scale are the same as its relative major, C, except that they start on Am: Am-Bmf5-C-Dm-Em-F-G When you renumber these chords with A as the tonic, you get the following sequence: 1-2-3-4-5-6-7i-iif5-fIII-iv-v-fVI-fVII Notice that the dominant chord (the chord built on the 5th scale degree named the dominant) is minor. In A, it’s an Em chord: E, G, and B. Take a look at how the raised 7th of the harmonic minor scale affects the dominant chord. In A harmonic minor, the 7th scale degree is raised from G to Gs. This Gs changes the Em chord, E-G-B, to E major, E-Gs-B. The v chord becomes V, making a much stronger dominant-tonic V-i chord progression. As with major keys, you can add a 7th (creating a dominant 7th chord) to intensify the movement from dominant to tonic. In our A minor example, this would be E7-Am. Songs in minor keys often use V7 chords. If you’re a soloist, keep in mind that you only need to use the harmonic minor scale temporarily. Typically, you use the natural minor scale until the dominant chord sounds, at which point you need the raised 7th of the harmonic minor. In other words, when the V or V7 chord appears, use the harmonic minor; for all other chords, use the natural minor. How to identify harmonic minor chord progressions on the guitar Here are several examples of typical harmonic minor chord progressions. Notice that the progressions use chords from the A natural minor scale, except for the V7 chord, E7, which comes from the harmonic minor scale. Here is an Am-E7 harmonic minor chord progression. Something similar is used in “Istanbul (Not Constantinople)” by Santo & Johnny. Credit: Illustration courtesy of Desi Serna You can play-along to a backing track of this in Chapter 14, Audio Track 21: A Harmonic Minor Play-Along Track. Here is an Am-Dm-E7-Am harmonic minor chord progression. Some of the same chords are used in “Abracadabra” by Steve Miller Band. Credit: Illustration courtesy of Desi Serna Here is an Am-F-E7 harmonic minor chord progression. The main sections to “Smooth” by Santana are based on a nearly identical progression. Credit: Illustration courtesy of Desi Serna Here is an Am-G-F-E7 harmonic minor chord progression. “Walk, Don’t Run” by The Ventures starts out with the same chord changes. Credit: Illustration courtesy of Desi Serna Here is an Am-Dm-G-C-F-Bm7f5-E7 harmonic minor chord progression. Some songs based on similar chord movement include “El Farol” by Santana, “I Will Survive” by Gloria Gaynor, and “Still Got the Blues” by Gary Moore. Credit: Illustration courtesy of Desi Serna You can play in other harmonic minor keys simply by playing a minor chord and a dominant 7th chord a 5th above it; for example, Em and B7, Fm and C7, Dm and A7, and so on.

Article / Updated 07-22-2022

On the guitar, because Dorian mode centers on a minor chord, most lead guitar players prefer to approach it with minor pentatonic scale patterns. You can see how to put together A minor pentatonic and G major scale patterns here. Credit: Illustration courtesy of Desi Serna You can think of Dorian mode as being the minor pentatonic with an added 2nd and major 6th. What’s nice about combining patterns this way is that you can stay in familiar pentatonic boxes, while at the same time incorporating major scale notes to produce the full Dorian sound. You don’t need to memorize and master every one of these pattern combinations. Most guitarists end up settling on only a few preferred patterns and positions. As a starting place, you can play through A minor pentatonic pattern 1 beginning at the 5th fret (the first example). That’s a position all guitarists use. Remember that all the patterns begin to repeat at the 12th fret. The key of A Dorian is just a starting point. You can produce Dorian mode in other keys by combining the patterns in this way in new positions. For example, move up the patterns two frets to play in B Dorian. Move up another fret for C Dorian, and so on. Any time a piece of music uses the major scale and centers on the 2nd degree, which is normally chord ii, it’s Dorian mode. Some song examples that are either entirely based in Dorian mode or at least have a Dorian section include the following: “Oye Como Va” by Santana (A Dorian) “Moondance” by Van Morrison (A Dorian) “Who Will Save Your Soul” by Jewel (A Dorian) “It’s Too Late” by Carol King (A Dorian ) “Light my Fire” by The Doors (A Dorian and guitars tuned down one half step to Ef) “Another Brick in the Wall (Part II)” by Pink Floyd (D Dorian) “Your Body Is a Wonderland” by John Mayer (D Dorian) “Ecstacy” by Rusted Root (D Dorian) “Spooky” by Atlanta Rhythm Section (E Dorian) “Horse with No Name” by America (E Dorian) “I Wish” by Stevie Wonder (Ef Dorian) As you can tell from this song list, Dorian has a bit of a jazzy flavor to it. Any one of these songs is good for playing along with and practicing Dorian mode. You can also put together your own tracks by centering a progression around the 2nd degree and chord from the major scale. Modes are referred to by their tonic pitch and Greek name. A Dorian means that the tonic pitch is A and it’s the 2nd scale degree in the major scale. If A is 2, then G must be 1 and the parent major scale. G Dorian means that the tonic pitch is G and it’s the 2nd scale degree in the major scale. If G is 2, then F must be 1 and the parent major scale. Likewise, D Dorian is drawn from C major and E Dorian from D major. You can see a demonstration on how to play in Dorian mode in Chapter 13, Video Clip 33: Playing in Dorian Mode.