Modern Music Theory Improvisation and Application

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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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