Ukrainian Dorian scale

[4] Moisei Beregovsky, a Soviet ethnomusicologist, was critical of Idelsohn's work and preferred the term "altered Dorian" (Russian: Измененный дорийский); he agreed it was most common in Ukrainian Dumy and also in Romanian, Moldavian and Jewish music.

[5][6] Mark Slobin, an American ethnomusicologist, who translated Beregovski's work to English, calls it the "raised-fourth scale".

In the context of Jewish cantorial music or Nusach it has been named after various prayers it was used in; most commonly "Mi Shebeirach scale", but also Av HaRachamim and others.

Its lower range consists of the pentachord Nikriz; in C, the notes would be C, D, E♭, F♯, G. Its upper range normally consists of the tetrachord G, A, B♭, C. Below the tonic, however, would typically be the tetrachord G, A, B♮, C. In many cases, at some point in the melody the fourth degree is flattened to F♮, with a possibility to flatten the sixth and seventh degrees to A♭ and B♭ (natural minor).

[6] However, the raised fourth is more difficult to harmonize, and therefore pieces written in this scale are often accompanied by a drone in traditional music, or with diminished chords.

[9] Manuel notes that Jewish and Roma musicians may have been important in spreading or maintaining it across cultural zones and imperial borders.

[7] As stated above, the common English name for this scale (Ukrainian Dorian) came about because early folklorists and musicologists associated it with the Dumy epic ballads of Ukraine.

[2][6] Its use is common in Yiddish theatre music of the late nineteenth and early twentieth century, sometimes as a natural result of composing in a Jewish style but occasionally in terms of parody, pathos or cultural references as well.

[4][6] In religious Jewish music, it is considered a "secondary" mode, as it often appears in passing in larger works with complex melodic development, rather than being the basis of an entire piece.

[20][21][22] Romania and Moldova, which correspond to the historical Danubian Principalities of Wallachia and Moldavia, played a key role in historical exchanges between Western and Ottoman music, including Roma musicians from there who played at the Ottoman court, as well as the interplay of Greek, Jewish, Romanian and Roma musical cultures.

[27][28] Modern American Jewish composers have also employed it, including George Gershwin, Max Helfman, Irving Berlin, Kurt Weill and Ernest Bloch.