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Learn to play blues guitar.

Carlos Santana Style Guitar Lesson – Dorian Mode Guitar Lesson – EP178

Description

In this guitar lesson, you’ll learn how to play a classic Carlos Santana style lead in the Dorian Mode. I’ll explain what the Dorian Mode is and how you can find it in any key. Carlos Santana often uses this mode when he plays, so what better way to showcase this mode than to play a Santana inspired lead. I’ve included the MP3 jam track in 2 tempos (this includes a slower tempo jam track).

Part 1 - Free Guitar Lesson

Part 2 - For Premium Members

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Bonus Video (Dorian Mode)

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Slow Walk-through

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Video Tablature Breakdown

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Comments

  2. Jeem says

    Brian,
    You ARE the MAN! I’ve been waiting for this one for a while.
    And you did an excellent job on this! If I would have heard this on the radio I’d have thought, “Now there’s a Santana tune I’ve never heard before”.

    Thanks so much…Master Brian!

    Jim

  14. pzeszko@gmail.com says

    Fantastic lesson, thanks man. I’m suprised how Dorian mode colors my lead, great!
    P.S. (about the Dorian mode) If you go from 5 to 7 you increase your range by (7 – 5)/5 = 2/5 = 40% 😉 we divide by 5 because we’re increasing relatively to what we had at the beggining, which is 5.

  15. Lefteris B says

    It’s strange enough that last night I spent some time making exercises using (and learning in some way) the dorian mode. So this morning I got a pleasant surprise with your lesson, Brian. And the whole thing gets so much easier when combining the pentatonic! Thanks a lot, Brian, you’re an unbelievable teacher

  19. DerekBlue says

    Once again you have taken something that sounds complicated and broken it down in little bites in a way that makes it so fun to learn. Thanks for the explanation of the modes. My eyes would gloss over when people talked about them, but your explanation brought immediate clarity.

    Now, you can save me some time if you tell what the chord in on the turn around in the backing track. Anyone?

    Brad

  22. Peter C says

    Brian – This lesson is really interesting. I had been getting pretty comfortable moving between major and minor licks while playing major 1, 4, 5 blues. This Dorian scale seems to provide similar versatility within just the minor scale. Is this a device to introduce a wider range of emotion in the minor scale because the major scale cannot be played over minor chords?

  28. James F says

    I’m in agreement with the comments here, one of your best lessons. Great Santana example but better yet, you created an easy lesson in theory that didn’t make my head explode. I totally got it and now I want to know more. THANKS!

  29. tommc says

    That was the most helpful explanation of modes I have ever encountered. One thing I didn’t get. When you added two notes to get Dorian from minor pentatonic, why was it those two specific notes? Further, would each mode add two notes to minor pentatonic? How do you determine which notes to add? Perhaps I missed a concept. Thanks for creating these thoughtful lessons.

    • Brian says

      Just watch the bonus video for this lesson and you’ll see where those 2 extra notes come from – It’s from the major scale, you’re just starting on a different note as you play it, instead of starting on the 1, you’re starting on the 2 (2nd step in the major scale) and ending on the 2 for Dorian,

  32. Alexander P says

    I think at the beginning of the first video, you say that the tune is in Cm. Would it not be more correct to say that it’s in Bb? C is the second degree of the Bb scale, and Cm is the corresponding diatonic chord, with C Dorian the corresponding mode. Likewise, the F major chord is the diatonic fifth of Bb. If my understanding if correct, that means you could play F mixolydian over the F. Is that right?

    Thanks
    Alex

    • Brian says

      Alex, in the literal sense you are correct. This would be the key of Bb, but it wouldn’t be described that way in layman’s terms. If you were at a jam with other musicians, you’d say that you were playing in C minor. Another example would be if the song followed a typical 12 bar blues format, but all of the chords were minor chords, you wouldn’t say, we’re playing a 2, 3, 6 in the key of whatever. You’d say, we’re playing a 1, 4, 5 minor chord progression. 2, 3, 6 in they key of whatever would be literal, but it’d be too confusing for most to know what the key is.

  36. jaystrings2@aol.com says

    Best lesson in a while. Love it, thanks. More, more, Latin rock and jazz stuff. Also especially like you adding to the goodies bag for the premium members. I always get MY money’s worth, and you just sweetened the deal. Keep on keeping on.

  37. john p says

    Brian, so is the minor pentatonic with the two added notes transposable? meaning that I would be able to cover the fretboard in dorian mode! and move diagonally? This could be a super lightbulb lesson!. My Christmas wish list would be that you cover a few more mode in future. John

  38. kestrou says

    I’m mostly a lurker here, but have to chime in because this lesson was OUTSTANDING.

    Interesting musically, taught me something important (Dorian), yet not too tough to get under my fingers.

    Encore! Encore! 🙂

    Kevin

  39. Bill F says

    Brian, really outstanding lesson on the dorian mode. cleared up a lot of confusion I have had over the years. Would love to see even more on the modes in the styles of artists who tend to favor particular modes (as you jsut did with Santana/dorian)

    Many thanks!

    Bill

  40. Nick P says

    One of the best lessons ever! I played for over an hour this morning, riffing on this great Santana stuff (when I should have been doing other things!) … explanation of dorian mode excellent, but here’s a question… Would Santana have known he was playing in dorian mode and would have done it deliberately? Or is this a case of applying musical analysis to what just flows from his fingertips? Any thoughts?

  44. riteus1 says

    Thank you!Thank you! Thank you! This was the lesson I have been waiting for! You are the man. Great lesson and you make it so understandable that you can apply it and incorporate into your style. God’s Blessing upon you always.

  45. John s says

    Wow! What I like about you Brian is: 1. One of the best teachers available. 2. A truly (no lie…) gifted musician. 3. You don’t sound/talk like you just smoked a pound of dope. As good as an instructor for wannabe guitar players gets; blues, country, rock, etc. you can do it all! Thanks a lot! Amazing!

  46. Alfred Dowaliby says

    Not too much I can say that has not already been said, but I certainly echo the enthusiastic and appreciative comments of the other members. I have always really appreciated Santana. He is one of a handful of guitar players who is instantly recognizable. He virtually invented a style of playing lead guitar that combined a host of other existing elements, including blues, rock, classical, jazz and Latin – the result being a super melodic, rhythmic, passionate and fiery brand of guitar playing. So happy that I am incorporating this style and knowledge into my playing. It’s tough, but devotion, persistence and consistency is the key. It always amazes me how versatile Brian is as both a player and teacher. Slowly, patiently, clearly, and methodically, he escorts us to heights we may have never dreamed within our grasp. He clearly believes in giving us our money’s worth and more! Thank you!

  48. johnnybgood says

    Brian , a newbe i am , having just signed up for the year , the santana lesson is solid , learned it in a few days not perfect , better each practice hope you might do another santana lesson in the future , also lessons which include other modes i am sure others would find interesting as well as expanding their vocabulary , the hexatonic scale is another cool scale , with lots of other colours easy to play as well thanks again for the great lesson kudos to your teaching ability !!

  50. Daniel T says

    Thank you so much Brian !

    I have been stuck in a rut for 30 years. I had resigned myself to just playing Rhythm, and had lost interest in the guitar.
    I watched one of your lessons and became a member the other day. I have watched several now….Over and Over. Then I play what you have
    put out Over and Over. It’s like walking again.
    Santana is one of my favorites, as well as BB King.
    This Santana lesson looks like the first step in climbing out of my rut.!

    Dan T

  51. Rich F says

    Hi Brian,

    This is a brilliant lesson! I love Santana, and have just discovered this lesson due to this month’s challenge frm Bryce. It’s going to be a challenge but I’m going to give it a go! I have recently been trying to learn one of my Santana favourites: Oye Como Va.

    (writing this while listening to the backing track: very cool sound, and rhythm. Brian, could we have a lesson on Santana rhythms? I believe it’s kind of Salsa, Bossa Nova…?

    I love the Santana sound: to me, it is so warm, and makes me think of sitting on the beach in the warm Sunshine and warm Summer breeze ! (Some nice escapism as I am sitting here in the cold UK winter!)

    Thanks for the great lesson Brian!

  52. Tom D says

    Hi Brian,

    I have strayed from EP235 this week, because I love the music put out by Carlos Santana and would love to use some of his runs in my own improvisation. I have discovered on YouTube that you do cover tune lessons, but I could not find any by Santana. Is it possible for you to do one for Black Magic Woman? I love your reaching style and I have enrolled in your course to improve and modernise my own playing style. I am 69 years of age and have been playing the guitar off and on since I was 10. I learnt classical guitar about 40 years ago and completed stage 4 in 2 years, but that was about 40 years ago and I have not played any classical numbers since then. I have played in mainly rock and country bands sine 1965 and am now playing at nursing homes and retirement villages – mainly 50’s and 60’s numbers.Keep up the good teaching and merry Christmas.

    Tom Duckworth

  55. rainmon1 says

    Brian, I just saw this lesson recently and have got it down pretty well except for one thing: that 16th note section. Can you offer any tips on picking up my speed with that? I’ve been practicing by increasing the tempo on a metronome, which helped some but I seem to have hit a plateau — and not the right plateau! Any tips would be appreciated!
    Thanks.

  56. morris c says

    Brian, I’m 71, and really enjoy your knowledge and your ability to teach. I’ve never had any music theory, so I appreciate the time that you take to explain some of the theory. I’ve been a member for about 1.5 years, and feel that I have learned a lot. I play at church every Sunday. I don’t have the opertunity to throw many licks in there, but a couple of us brothers get together at our homes and practice with each other. Thanks so much for your help. Maybe sometime you could explain a little more about theory? You are a blessing in my life !

  58. Lawrence P says

    If I heard correctly, this etude is in C minor, or at least the starting chord, but you say this is a Dorian mode exercise. If the key is C minor that makes the major E flat. Is not C Dorian the same as B flat major? I’ve looked at the fingering for C Dorian and it is the same as you demonstrate but I am confused as to why this is C Dorian and not C minor. The second of B flat is C minor and, with the F chord that you play, it would seem that the progression is a minor progression.
    Can you please clarify.
    Thanks

    • Lawrence P says

      Answered my own question. The song is a two-chord vamp on the major 1 and the minor 2, with the lead part in the C Dorian mode. The F chord can be major because it is the 5th of B flat major, the 1 chord, I haven’t developed the chord progression yet but if the G chord is played then it would be a minor.

      • frank says

        It’s understandable that you might initially hear C Minor, since C Dorian is a minor mode (i.e. minor 3rd and minor 7th). The only difference between Dorian and Aeolian (the natural minor) is the 6th degree, which is major 6th in Dorian. Now if only I could play like that!

  62. William P says

    Great Lesson and needed! Thanks, but I am wondering when you go to pattern 2 and say that the second string bended note is normally not bended in pentatonic scale… would this “Pattern 2” be in the Phrygian or Lydian position and could it be thought of that way (extended up from the Dorian)?

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