In Western (or classical) harmony, music is about tension and resolution, the way we hear a G7 chord resolve to C major. The same holds true for all of the modes. As you most likely know, C Major contains the following notes: Now, to turn C major into C locrian, we need to lower the 2nd note (D becomes Db), 3rd note (E becomes Eb), 5th note (G becomes Gb), 6th note (A becomes Ab) and 7th note (B becomes Bb). In this article, we will talk about the seventh mode, the Locrian mode on bass guitar. Even still, because the locrian mode is said to be the ‘hardest’ mode, it is a good chance to test out your knowledge and consolidate some key ideas and concepts. Let’s look at the locrian scale using the derivative approach. There has been an enormous amount of information presented to you. Move through all the strings to the high E string, playing from B to B. The Locrian mode is the 7th mode of the Major scale. If you have any questions, send us an email. We have now covered every mode of the key of C major. D major has the following notes: In order to turn D major into D locrian, we need to lower the 2nd (E becomes Eb), 3rd (F# becomes F), 5th (A becomes Ab), 6th (B becomes Bb) and 7th (C# becomes C) notes: We have just constructed D Locrian using the parallel approach. The Locrian scale is the minor scale that appears when a major scale is played with the seventh note (seventh scale-degree) as the root. B Locrian is the diminished mode, look at the image below. Because it features a major 3rd and centers on a major chord, it’s considered a major mode. The B notes have been highlighted and the fingering pattern illustrated. 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. The B Locrian is a seven-note scale, it is also called a mode. Let’s do 1 more example and use both approaches to get there. All for only $19.95 – Instant online access, Order today! 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! This means that it is built upon the 7th note of the major scale. Drawing from the G major scale, Lydian mode looks like this: G […] B Locrian mode tablature starting at the 7th fret position. 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. That’s a nice breakdown. If you have not read any of the above posts, the one thing that you do need to be familiar with is major scales. Let’s assume we want to play the D Locrian mode. If you are not confident with the theoretical and practical application of major scales, please read the post understanding major scales before moving on. We are not going to go into too much detail in this post regarding its sound and its use in musical contexts. Let’s look at the derivative approach first and then look at some examples. The instructional program is available online and includes a compilation of over 150 professional online guitar lessons.”, Guitar Secrets Copyright 2019 All Rights Reserved. Here you find links to every Locrian mode and all the positions along the guitar fretboard. So far we have covered the C Major or Ionian mode. This is why the Locrian mode is sometimes called a ‘theoretical’ mode: it isn’t used much in our Western harmony system. This will not be a scale you will use often. We will construct it using the parallel approach first. Of course, B flat major contains A as the 7th note: Therefor, to play A Locrian, we simply need to play the B flat major scale and start on A: We have just produced 3 examples of the Locrian scale using the derivative approach. The Locrian scale, or mode, is the seventh of the seven musical modes. What we will explore here is what the mode is and how to construct it. The notes of the Locrian mode are shown below. Remember all of the modes in the key of C major have the same notes. 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. ©2020 onlineguitarbooks.com. Yes, there are a few composers who have used it, but both rock and jazz prefers chords to resolve, more than anything. Let’s do another example. What we now have is the following: We have just produced the C Locrian mode using the parallel approach. Basically, there are two different ways of producing the one mode. The B diminished chord has the notes of B, D and F. The B note on the Low E string has been highlighted. Again the best way to demonstrate the theory is to look at some examples. C, D, E, F, G, A, B and C. Look at the image below and think of the B Locrian mode starting on the green B note and playing all the notes to the B note on high E string. . For this reason we’ll be playing over a B7alt chord in this lesson, but to keep the accidentals at a minimum, I’ll write everything as though it’s C melodic minor. This still sounds strange, but strange is good, right? The key to truly understanding modes, including the locrian mode, is to understand that both approaches produce the exact same result when used to construct a given mode. Modes of the harmonic and melodic minor scale get pretty strange names too. Try to memorize all the notes in the B diminished chord. All rights reserved. They are not too hard to understand, and it only works if you can practice them over chords. If you need help in reading the diagrams on this page, check the How to read music for guitar tutorial. The A major scale contains the following notes: The 7th note of the A major scale is G#. It is just a C major scale like the others, but this one starts on the letter B… C major: C D E F G A B C B Locrian: B C D E F G A B Or we can say: Major: 1 2 3 4 5 6 7 Locrian: 1 b2 b3 4 b5 b6 b7 Yeah, a lot of flats to remember!
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