The Locrian mode is the 7th mode of the major scale. In the following examples it will be D Locrian built from the 7th degree [leading note] of the Eb Major Scale.
If we look at the diagram above and below we will see the Sub-Dominant chord of Eb Major [Ab Major] played over the 7th degree note[ D ] as the bass note or more commonly seen as a slash chord Ab/D resolving to the new key [or implied key] G Major.
In the example below you will see that all of the notes of Ab Major resolve in semitones to the new [or implied] tonic G major. Although we employ the Locrian Mode this also gives a very Phrygian flavour because of the semitone resolution. Also the bass D can also be used in both chords with Ab/D to D in the bass of G for a second inversion chord.
The Locrian Mode 2 Octaves
The Locrian Mode can be broken up. This approach creates better fingering, fluency and a less cliched sound.
In this example there is an up beat added to create a more colourful character to the line. This up beat is built using a chromatic set up from target tones.
Below is an example employing target tones and arpeggios that weave through the harmonic texture of the Locrian V harmony.
Next we have an Fm arpeggio [Chord ii of Eb] a Bb arpeggio and a couple of chromatic notes.
This time we have our old friends target tones to add colour and rhythmic forward momentum to the Fm9 arpeggio line
In this next example we employ superimposition for a chromatic triadic approach, that again weaves through the Locrian V chord.
In this last example we exploit G Minor [chord iii of Eb ]
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The first idea is to join two different scales together.
Here we have the Lydian Dominant scale joined at the octave by the “SAME” tonic note C. It is joined by/with the Enigmatic scale.
Notice the smooth transition of the two different scales into one extended multi octave scale.
Here is a two octave version of the Lydian dominant and Enigmatic scale [Multi octave scale] with Guitar Tablature.
Here are 3 Lick Lines made from the extended Lydian Dom/Enigmatic scale
Scale Lick 1 [Superimposition]
Scale Lick 2: Chord to Scale
Scale Lick 3: Superimposition
SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier idea for a never ending scale. Each Lydian Tetrachord Resolves into the next one. This in turn seems to go on forever as it goes around the cycle of 5ths.
Also: Notice that unlike the first extended scale this one doesn’t have a common tone at the octave. So we go from C to C# to D# etc
SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar with Tablature
Here is a long piano version of the above that keeps ascending
This scale concept could also be looked at as being Mixolydian and a ModulatingScale.
We have A7-D E7-A B7-E F#7-B C#7-F# etc.
V-1 V-1 V-1 V-1 ETC.
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In this short blog we will look at a classic Pat Metheny chord sequence. This is a simple skeletal but very melodic chord melody that blends in with the piano or keyboards/Synth. It is played simply with the guitar plectrum picking out the bass mid and treble melody note.
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