Then the two "not pentatonic" notes are the Dorian flavor tones. Start to sprinkle those in. If it gets wacky back off to Dm pentatonic. Get solid. The go grab some Dorian spice. Lather rinse repeat.
This is what I was explaining is -not- Dorian. Perfect example. I just lost my post,
so this is the short story.
hell, I typed it all again.
Anyone following along at home you will need the use of Youtube and the search field.
A. Simpson's Theme
B. Danny Gatton - Sky King
C. Joe Satriani - Modes lesson -- 2 or 3 parts
Why playing notes that may be in a Dorian Scale or Dorian Pattern is not Dorian but simply chromaticism.
1. Listen to Simpson's theme - get that sound thoroughly in your head - Got it? .. It's happy right? Bright, carefree, Sunny, Bouncy... Feel it. It's a circus of happy feeling music. That is Lydian and the use of the #4 is very important in that sound. that's the happy bright note.
2. Now play a blues. Play your most soulful slow blues that you can wring out. Now, by any means necessary, however you see things on the guitar, music, or whatever, play the #4 from a Lydian pattern.
doesn't sound too happy does it? #4 = b5 , the Blue Note. The one that makes you go oh mercy me when you play the blues. the one so sad you need to bend it on up so you don't cry.
So there is no way that you just "spiced" up your blues with a Lydian #4.
this situation is true for every scale/mode. The patterns are in name only when used as such. Life may be easy for you to "see" things as a Dorian note or a Dorian pattern.... but the MUSIC dictates if it is indeed Dorian spice. In fact it is not.... at least not in the context of say an otherwise flat out Major progression.
For your Key your get 7 tones, included at no extra charge are 5 more tones. These are your spicy chromatic tones and in context very likely have zero to do with modality.
With this in mind.... listen to Sky King. Both the sax and Danny "go outside" the term outside simply means to employ your 5 chromatic tones for tension to interest the listener.
Notice too that from beginning to end this song has a feel, a tonality, a life.... just as the Simpson's Theme did and just as your Blues did if you played it well. At no time, even towards the end when Danny and the Sax were playing outside together did the song 'change' it's flavor. Even the most casual of listeners would not be lost nor would they say..... "wow, that song started off one way and then changed into something else" .. .that's because it didn't.
The fact you play a note that can be assigned to a group of notes and given a mode name does not mean every time you play that note that you are playing that mode.
All it means is that you have assigned a memory device to it and you are thinking in relational linear terms... IE. C D E F G A B you would say the D is a Dorian note. this memory or visualization does not make the MUSIC Dorian just because you use that note.
Again, if the harmony is already Dorian then this "spice" will not sound like "spice" it will sound like the "meal". It will fit by default. the overall tonality will be Dorian from the Harmony. It will all sound Dorian just like the Simpsons sounded Lydian.
So your "Spice" in the context of grabbing Dorian Spice in a basic Major progression is simply employing Chromatic accidentals. It will indeed add interest, tension, etc,,, but it won't be Dorian in the sense of Modal Dorian music.
So in casual speech people will say "I used the Dorian scale. This may be true, but how that scale functions as heard in context may not be Dorian. It all depends on the Harmony going on.
Again, I am speaking of dead ahead basic old Major scale Harmony progression. Now if your harmony changes that's another story.... or even if your harmony drops out to some unstructured drone... but if your harmony changes to dead on Dorian then your "spice" notes won't sound spicy, they will sound like the ones you are supposed to be playing because they fit.
I hope this makes sense that we can employ Dorian Scales in name and location of notes in a pattern and remember them by any means we choose but we can also create Modal Music that most often has a "Sound"... and that simply using a note from a modal scale will not necessarily give us this "Sound".
So in conversation we may say, "I used Dorian" and it's sort of like saying "play it down"... A beginner may move his hand toward the floor, or may move his hand 'down' towards the bridge. When in reality, play it down, means to go lower in pitch by going to lower string which seems like up towards the ceiling.
The Simpsons Theme does not equal the Blues yet they both share the #4/b5 as one of the most important tones in their group of notes. Two different Sounds ... and that's what you want to find... you want to find what the modes sound like.
Be aware of how the information is being related... generally speaking if you have a lesson on a mode you assume that modal harmony will be going on... otherwise, and in one's personal efforts, the harmony may not be modal and one might simply be employing chromaticism.
Finally you can watch Joe Satriani teach modes and pay attention to where he talks about what happens as the harmony changes. The more sparse the harmony the more easy it is to actually employ modal scales such as the Dorian scale. The more complex the harmony the less likely you will be able to employ 'mode by choice' or even 'spice notes'.
Also there is nothing wrong with employing say playing one scale over a different harmony as it may make it easier for you to remember and employ these extra chromatic tension tones. This is fine. Simply be aware of the duality of modes so to speak.
1. True Modal = Recognizable Sound ( once learned )
2. Use of modal fingerings to facilitate the employment of chromatic tones in an otherwise 'normal' progression. EX> C Major progression and purposefully playing the Am Pent shape because it's something you remember . Or F Ionian over C Major ( F G A Bb C D E ) notice it introduces one chromatic note the Bb... Maybe you know your F Major scale better than your C Mixolydian scale ( C D E F G A Bb ) same notes... notice none of this is Modal playing even though you are calling upon "modal scales" or "modal patterns"
True Modal Sound vs Chromatic Device The two lives of playing and communicating "modes".