Dims to Doms 4321 Strings
Always tells us something.
Now some fully fretted C form shapes based on D. Closed systems always maintain chord quality. Include any open strings which sound good (leave E's open when most shapes moved to E - others work too, with high E ringing). Try the 9, 7#9, and 7b9 we learned in the previous B lesson (last 3 chords in the tablature). There are more possibilities. I've chosen my preferences (fretting ease, resonance, contextually ideal).
In the beginning, we match up the modes with the corresponding harmony. This means when the Dm [the ii chord in C] is sounding, we are thinking & playing Dorian [the 2nd mode in C]. Yet, we don’t have to think D Dorian because if you are playing the Dm chord & soloing in C Major, D Dorian happens automatically. If we know that all of the chords in a progression are in the same key [such as C Major], we can make one scale choice. Note: a chord symbol is also a scale symbol. Just as the chord can be realized in any way which we deem appropriate, we can also interpret the symbol into any scale which sounds good to us. The modal formula is under the tone names. This is comparing the scale components to their corresponding Major key [i.e. we compare D Dorian to D Ionian]. We can see that the number of sharps or flats in the key are the tones in the formula that are sharped/flatted.