D Dorian Mode II CAGED system

The D Dorian - Mode II Caged system. This Mode created by the C Major scale. The II degree of the C major scale.
The formula is: half step between 2nd/3rd and between 6th/7th.
Please check out the five individual patterns if you want to review in details before get into the Caged.
There are as 29 types, in 12 keys as I teach.
Try to master the Open position of every type of scales
1. Remember the root/tonic notes
2. What string the root/tonic are located at
3. What fret are they located at
4. use alternate picking " down/up - down/up -down/up..."
With the 3 information above, start play from the root/tonic walk up the scale according to the formula of the scale types you are working with. Please continue reading at the comment box below.

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The D Dorian - Mode II - CAGED System

Before I get into the caged system, if you are not going through each individual lesson (Patterns #1 through #5), you will have a hard time learning the CAGED system. I have videos for you to review.

The Dorian - Mode II is created by the C major scale, The Dorian is the II degree of the C major scale.
The only key that has all natural notes or tones is the key of (D Dorian - Mode II)
The remainning 11 keys need to have accidental apply to the steps according to the Dorian - Mode II formula. Usually we use the sharp for this.

Let’s play in ascending starting with the lowest note open E on 6th string of pattern #1.
Then pattern #2. Then pattern #3. Then pattern #4. Then pattern #5.

Now play in descending, start from the highest note F on 1st string, 13th fret of pattern #5.
Then pattern #4, then pattern #3, then pattern #2 then pattern #1

I can switch display as 'interval, degree, or notes' on the right fret board.

It’s awesome to train my ears on the five patterns. Listen to it plays for about 5 minutes as ascending then descending.
I do this to all of the scales, modes or arppegio's which I learned on the daily basis.

As long as you have the root/tonic note to start with 'check to see on what string, what fret, what finger are used to play this root/tonic'.

Walk up the steps according to the formula, eventually you will play the other root/tonic note as you reach one octave.
You just played one octave root/tonic to root/tonic in solid red.

If you continue going up the scale steps, you are playing on octave above or higher octave.

It is the same procedure if you decide to go down the scale, then you are playing notes belong to the octave below or lower octave.

Start playing Pattern #1 with the open E, walking up the step I see the root/tonic open (D) on the 4th string.
Continue walking up the steps, I see the other root/tonic (D) on the 2nd string, 3rd fret.

As I continue walking up; I am playing notes belong to above octave or higher octave
I finish the pattern with the G on 6th string, 3rd fret.

Pattern #1 has a neighbor or an adjacent and it is pattern #2

Pattern #1 and Pattern #2 share some common notes.

Look at Pattern #1 on second, third fret. These notes are carried over to create Pattern #2.

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Pattern #2’s neighbors or adjacent are pattern #1 and pattern #3.

Pattern #2 and Pattern #1 share some common notes.
Look at Pattern #1 on second, third fret. These notes are carried over to create Pattern #2.

The most important note which is shared between pattern #1 & pattern #2 is the root/tonic note, the (D) on 2nd string, 3rd fret.

Start playing Pattern #2 with the G on the 6th string, 3rd fret.
I walk up the steps, I see the a root/tonic (D) on the 5th string, 5th fret. I used thepinky finger to play this note.
As I continue walking up, I see another root/tonic (D) on 2nd string, 3rd fret and I use the index finger to play this note.
Continue walking up, I finish the pattern with the root/tonic (A) on 1st string, 5th fret.
That is how I connect pattern #1 and pattern #2.

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Pattern #2 and Pattern #3 share some common notes.
Look at Pattern #2 on fourth, fifth and sixth fret. These notes are carried over to create Pattern #3.
The most important note which is shared between pattern #2 & pattern #3 is the root/tonic note, the root/tonic (D) on 5th string, 5th fret

Start playing Pattern #3 with the (A) on the 6th string, 5th fret, I'm using my index finger to play this note.
I walk up the scale and see the root/tonic (D) on the 5th string, 5th fret. I used the index finger to play this note.
As I continue walking up the scale, I finish the pattern with the (C) on 1st string, 8th fret.
That is how I connect pattern #3 and pattern #2.

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Pattern #3’s neighbors or adjacent are Patterns #2 and #4.

Pattern #3 and Pattern #4 share some common notes.

Notes on seventh and eighth fret of Pattern #3 carry over onto Pattern #4.

The most important note carried over from Pattern #3 onto Pattern #4 is the root/tonic (D) on 3rd string, 7th fret.

Start playing Pattern #4 on the root/tonic (D) on 6th string, 10th fret. I use the pinky finger to play this note.

Walking up the scale to the root/tonic (D) on 3rd string, 7th fret. I use the index finger to play this note.

Continue walking up the scale, I see another root/tonic (D) on 1st string, 10th fret and I use the pinky finger to play this note.

That is how I connect pattern #4 and pattern #3.

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Pattern #5 has a neighbor or an adjacent and it is pattern #4

Pattern #5 and Pattern #4 share some common notes.

The notes on 9th and 10th fret of pattern #4 are carries over onto pattern #5.

The most important note which is shared between pattern #4 & pattern #5 is the root/tonic (D) note on 6th string, 10th fret.

Start playing Pattern #5 on the root/tonic (D) on 6th string, 10th fret. I use the index finger to play this note.

Walking up the scale to the root/tonic (D) on 4th string, 12th fret. I use the pinky finger to play this note.

Continue walking up I find the next root/tonic (D) on 1st string, 10th fret. I use the index finger to play this note.
Continue walking up, I finish the pattern with the (F) on 1st string, 13th fret.

That is how I connect pattern #5 and pattern #4.

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Study it and make sure you understand it on paper with pen on your hand, really study it before apply and training your fingers.

Master each individual pattern, pay attention to the root/tonic location.

Play each pattern in ascending, starting at the lowest note, walk-up the steps until you play the last note,
then immediately turn around play in descending, start with the highest note of the pattern and going down the scale until you play the lowest note of the pattern. You complete the drill, one past.

Try to do the drill five consecutive times without taking a brake, this is how I train my finger and strengthen them.

As I get better later on, I increase the tempo even faster and do the drill over again, this time I try to complete 10 consecutive times without brake.

When I felt that I am getting really good, I start create lick, I start playing at any note, put my feeling and mood some time I skip one or two steps, some time I apply hammer-on or bend the string for that note which I play, or vibrate on certain notes...

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When you feel that you got the five individual patterns down, try to connect the patterns together as the CAGED.

Experiment and play a few notes from Pattern #1, then slide over Pattern #2 to play a few more notes, go back and forth between the two patterns, try to create some lick.

Do the same with pattern #2 & pattern #3. Do the same with pattern #3 & pattern # 4. Do the same with pattern #4 & pattern #5.

As you gain knowledge and feel comfortable, try to create a lick or a solo by playing a few notes from pattern #1, then slide over pattern #2 play a few more notes, then slide over pattern #3 play a few notes, then slide over pattern #4 play a few notes, then slide over pattern #5 to play a few notes, notice that you have been playing in ascending, now trying to play in descending.

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There are 47 type of scales, 29 type of Modes, 14 type of Arpeggios as far as I know, could be more. And don't forget in 12 keys.

How can any players remember all these?

I do not remember them all, but I study them all, I only remember the most popular and common scales, modes, arpeggios.

The rest I can go back and review over them, and have no problems at all to understand them as I already study them before.

So this is what I do. I master my first scale 'the C major scale with five individual positions or patterns, then I master the CAGED system for the C major scale. It took my a while to get them down.

I apply this learning technique and style to all others scales type, or arpeggio's types or modes types and to the remaining 11 keys without any problems.

I am speaking on my own behalf and my own experiences during the long, long period of my life learning and training myself to play the guitar.

My wife and I have been playing and teaching guitar lessons for the last decade 'private/group lessons'


When you are playing, try different techniques, such as hammer on, hammer off, sustaining, and vibrating. Put feeling into them. I hope this helps you. Take time to study! Get it into your mind and understand it. From there, you train your fingers and your mind. It is very important that your mind understands it, because your mind teaches your fingers how to play (not your fingers teaching your mind).

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This is a different view with the sixth string, or the low E, on top and the first string, or high E, on the bottom.

The top fret board is the referencing fret board; you can display note, interval or degree. Let’s go back to Note.

The top text is the scale step.

The bottom fret board is the fingering fret board.

Here is the CAGED system. You can have it displays as scale 'Degree or Interval or Notes'.

I See the root/tonic (D) off Pattern #1 on 2nd string, 3rd fret I use the pinky finger to play this note, that is the most important note to transfer to Pattern #2 (but in pattern #2, I use my index finger to play this note).
The root/tonic (D) on 5th string, 5th fret of pattern #2 use the pinky finger to play this note, but changes to the index finger to play this note in Pattern #3.
Pattern #3 uses the pinky finger to play the root/tonic on the 3rd string, 7th fret; this changes to the index finger in Pattern #4.
With pattern #4 I use the pinky finger to play the root/tonic on 6th string, 10th fret. It changes to the index finger in Pattern #5.