In music, the Ukrainian Dorian scale (Dorian ♯4 scale) or the Lydian ♭3 ♭7 scale is a modified minor scale with raised 4th and 6th degrees (when compared to the natural minor), often with a variable 4th degree. It has traditionally been common in the music of Eastern Europe, Southeast Europe, and the Mediterranean including Jewish, Greek, Ukrainian, and Romanian music. Because of its widespread use, this scale has been known by a variety of names including Altered Dorian, Hutsul mode and Mi Shebeirach. It is also closely related to the Nikriz pentachord found in Turkish or Arabic maqam systems. It is equivalent to the scale of the Indian raga Hemavati.

It is one of the two harmonic Dorian scales, the being is the Dorian ♭5 scale. Compared with the Dorian mode it has a raised 4th degree, notated relative to the major scale as:

Although this scale has been used in the music of Southeastern Europe and Western Asia for centuries, our terms for it only date to the twentieth century. The term Ukrainian Dorian (German: Ukrainisch-dorisch) was coined by the pioneering Jewish musicologist Abraham Zevi Idelsohn in the 1910s, who was influenced by the Ukrainian folklorist Filaret Kolessa and associated this scale with Ukrainian music (particularly in the epic poems called "Dumy"). Because of this association it has also been called the "Duma mode" in the context of Ukrainian music. At other times Idelsohn called it simply a dorian mode with an augmented fourth. 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. Mark Slobin, an American ethnomusicologist, who translated Beregovski's work to English, calls it the "raised-fourth scale".

In folk and religious music from various ethnic groups of Southeastern Europe it has a variety of other names. 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. Since the 1980s some of these religious terms have been applied to Klezmer music as well, most commonly Mi Shebeirach. In Ukrainian, it is called the Hutsul mode (Ukrainian: гуцульський лад) after the subethnic group of that name. In the context of modern Greek music it has variously been called Karagouna, Romanikos, Nikriz or Piraeotiko minore (Piraeus minor) In contexts influenced by the Turkish makam system, which includes Greek music, it is often compared to the pentachord Nikriz.

The Ukrainian Dorian scale is sometimes described as a Dorian mode with a raised fourth degree. It shares the same intervals as the Harmonic minor scale and the Phrygian dominant scale. It can be seen, as Idelsohn originally described it in the 1910s, as a seven-note scale. For example, a C scale in Ukrainian Dorian would consist of C, D, E♭, F♯, G, A, B♭.

However, there are other aspects to its modal usage in traditional music. 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). So, in traditional modal uses it often extends beyond one octave and has variation in its intervals.

The main tonal basis of this scale is a minor triad. 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.

This mode is especially common in areas of Eastern and Southeastern Europe and the Mediterranean which were under the rule or influence of the Ottoman Empire, and before it the Byzantine Empire. There has not yet been a thorough study of its use across various cultures. In a 1980 study, Slobin noted it is particularly prevalent in Ukraine, Romania and Moldova, appears sometimes in the music of Maramureș, Bulgaria, Greece, and Slovakia; that it is rare in the folk music of Russia, Belarus and Hungary but appears fairly commonly in Jewish music from those areas. The historical ethnomusicologist Walter Zev Feldman describes it as being present in an area from Western Anatolia to Ukraine. Manuel notes that Jewish and Roma musicians may have been important in spreading or maintaining it across cultural zones and imperial borders. Scholars generally agree that its origin is unknown. Certain usages of this scale are common across many of these cultural groups, such as modulations between it and the Phrygian dominant scale.