Scales you can use in the real world, created by a human guitarist. A Visual Learning Experience, Lead Guitar Made Easy. Funny, while doing some research for this article, I came across several blogs that mentioned songs like YYZ, Enter Sandman, and the song Black Sabbath as examples of Locrian, but other than the flat five note common in each one, they are all built on single note riffs (pretty awesome ones at that) but with no chordal harmony suggesting the Locrian mode. The Dorian mode or Dm mode, the E Phrygian or Em mode, the F Lydian mode, the G Mixolydian Mode and the A Aeolian mode. The Locrian scale, or mode, is the seventh of the seven musical modes. This is the last mode we have to learn in the key of C major. This still sounds strange, but strange is good, right? As I mentioned earlier, the locrian mode can be defined by the following: With the derivative approach, we are only really concerned with the fact that it is the 7th mode. This is one way to practice this mode that doesn’t sound quite as strange: Use a constant eighth-note rhythm bass note, playing a B. The Locrian mode is the only odd ball mode. We will construct it using the parallel approach first. Locrian scale for guitar. The chord it is played over is unresolved. It contains a b2, b3, b5, b6 and b7. Therefor, if we play the A major scale and start on G#, we are now playing G# Locrian: That’s it. In this post, we are going to explore exactly how to do that. The B Locrian is a seven-note scale, it is also called a mode. The problem with this mode comes from its use in Western harmony. In the fretboard pattern, the first root note is on the 6th string, 7th fret. You would start this mode off with the Low E string, 7th fret, 1 finger. The B note on the Low E string has been highlighted. Let’s look at the locrian scale using the derivative approach. If it goes to a C, you are not really playing in B locrian, but C Ionian, since that is where the harmony is going. What we now have is the following: We have just produced the C Locrian mode using the parallel approach. It is similar to the natural minor scale except for the lowered second and fifth. This scale is played over min7b5 chords or (less common, but with a better fit) a min9b5 chord. Many players substitute a Bm7b5 for a G7 in a chord progression, but hey, this isn’t about chords right now- back to the mode! We have now covered every mode of the key of C major. The same holds true for all of the modes. The Locrian mode is the least used, and probably the most misunderstood out of all of the modes of the major scale. That means that relative to the major scale, the 2nd note, 3rd note, 5th note, 6th note and 7th notes have been ‘lowered’ or ‘flattened’. This will not be a scale you will use often. If you have read any of the other posts on the other modes, or if you have read guitar modes explained, you will probably have a pretty good understanding of how modes work already. It is of course E flat major: Therefor, if we play Eb major, but start on D, we get the following: As you can see, both approaches have produced the same result for D Locrian. Hopefully this series on modes have helped some of you readers that might have been confused on what exactly these mode things are. Try to memorize all the notes in the B diminished chord. ©2020 onlineguitarbooks.com. C Locrian Mode. They are not too hard to understand, and it only works if you can practice them over chords. Let’s do an example. As I mentioned before, the locrian mode contains a b2, b3, b5, b6, b7. Move through all the strings to the high E string, playing from B to B. This can be a very dark mode. Non computer generated. Move through all the strings to the high E string, We have now covered every mode of the key of C major. Let’s construct G Locrian: If we lower the 2nd note (A becomes Ab), 3rd note (B becomes Bb), 5th note (D becomes Db), 6th note (E becomes Eb) and 7th note (F# becomes F), we get the following scale: We have just constructed the G Locrean mode using the parallel approach. As the name suggests it's easiest to think of this as a Locrian Mode with a natural 2nd. [C major modes intro] [ C Ionian ] [ Dorian mode ] [ Phrygian mode ] [ Lydian mode ] [ Mixolydian Mode ] [ Aeolian mode ] [ Locrian mode ]. In other words, practicing modes by themselves – not practicing them over chords – is more of a finger exercise than a lesson in how the modes sound and their application. So far we have covered the C Major or Ionian mode. The notes of the Locrian mode are shown below. Let’s assume we want to play the D Locrian mode. Now we come to the end of my series on modes of the major scale, and this is a tough one. Knowledge of major scales is important here. Both approaches have worked well for lots of guitarists in the past. Copyright © 2020 Seymour Duncan. As you study these modes, remember you can play them at different locations. I like making music. F Major has the following notes: The 7th note of F major is E. Therefor, if we play F major but start on the 7th note, we will produce E Locrian: We have just produced E Locrian using the derivative approach. Suppose we want to play C Locrian. Check out individual Locrian mode keys. It might sound complicated but it really is not. Look at the image above and notice the C Ionian mode in there too. This one isn’t tough to play, though. Now the problem with this Locrian mode is that it has this same unresolved quality. Here is a list of the Locrian in every key: I play guitar. Let’s look at the derivative approach first and then look at some examples. All rights reserved. There has been an enormous amount of information presented to you. Here you find links to every Locrian mode and all the positions along the guitar fretboard. In other words, you aren’t ‘using modes’ if the harmony in the background of your cool riff doesn’t point to a specific mode, or there is no harmony at all. Or to put it even more simply, to play the locrean mode, we play the major scale and start on the 7th note. Remember, unique sound of each mode is dictated by the chord progression it is played over. In Western (or classical) harmony, music is about tension and resolution, the way we hear a G7 chord resolve to C major. Now, let’s say we want to play A Locrian. Here is a great way to play this mode using 3 notes-per-string: Notice the strange unfinished quality of this mode. So do you ever think about modes or scales when you play solos or just wing it? That’s a nice breakdown. Let’s do 1 more example and use both approaches to get there. We have just produced G# Locrean using the derivative approach. But in the end, playing in a mode on guitar has as much to do with the structure of the chords behind the solo as the notes in the solo itself. The mode that you are playing is therefor said to be ‘derived’ from the original major scale used and is thus called the derivative approach.

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