If you stick with just the white keys on a piano (C major), you can create pretty much any sound or emotion you want. The reason this works depends on the note you start with, or perhaps just as importantly, the note you return to for each musical phrase you create.
Here are all the modes derived from the C major scale:
- Ionian (Major Scale) – Starting from C:
- C, D, E, F, G, A, B, C
- Intervals: W-W-H-W-W-W-H
- Dorian – Starting from D:
- D, E, F, G, A, B, C, D
- Intervals: W-H-W-W-W-H-W
- Phrygian – Starting from E:
- E, F, G, A, B, C, D, E
- Intervals: H-W-W-W-H-W-W
- Lydian – Starting from F:
- F, G, A, B, C, D, E, F
- Intervals: W-W-W-H-W-W-H
- Mixolydian – Starting from G:
- G, A, B, C, D, E, F, G
- Intervals: W-W-H-W-W-H-W
- Aeolian (Natural Minor Scale) – Starting from A:
- A, B, C, D, E, F, G, A
- Intervals: W-H-W-W-H-W-W
- Locrian – Starting from B:
- B, C, D, E, F, G, A, B
- Intervals: H-W-W-H-W-W-W
The intervals are useful as they allow us to transpose each of these modes into any key (i.e. the starting note) we want.
For example, if we wanted to play the Locrian mode in C, we would use this scale:
C, Db, Eb, F, Gb, Ab, Bb, C
Other Modes and Scales:
- Harmonic Minor and Its Modes:
- Harmonic Minor: A, B, C, D, E, F, G#, A
- Modes derived from the Harmonic Minor scale include:
- Locrian ♮6: B, C, D, E, F, G#, A, B
- Ionian #5: C, D, E, F, G#, A, B, C
- Dorian #4: D, E, F, G#, A, B, C, D
- Phrygian Dominant: E, F, G#, A, B, C, D, E
- Lydian #2: F, G#, A, B, C, D, E, F
- Super Locrian: G#, A, B, C, D, E, F, G#
- Melodic Minor and Its Modes:
- Melodic Minor (Ascending): A, B, C, D, E, F#, G#, A
- Modes derived from the Melodic Minor scale include:
- Dorian ♭2: B, C, D, E, F#, G#, A, B
- Lydian Augmented: C, D, E, F#, G#, A, B, C
- Lydian Dominant: D, E, F#, G#, A, B, C, D
- Mixolydian ♭6: E, F#, G#, A, B, C, D, E
- Locrian ♮2: F#, G#, A, B, C, D, E, F#
- Altered Scale: G#, A, B, C, D, E, F#, G#
- Pentatonic Scales:
- Major Pentatonic: C, D, E, G, A, C
- Minor Pentatonic: A, C, D, E, G, A
- Blues Scale:
- Blues Scale: C, Eb, F, F#, G, Bb, C
- Whole Tone Scale:
- Whole Tone Scale: C, D, E, F#, G#, A#, C
- Octatonic (Diminished) Scale:
- Octatonic Scale (alternating whole and half steps): C, D, Eb, F, F#, G#, A, B, C
- Exotic and Non-Western Scales:
- Hirajoshi: C, D, Eb, G, Ab, C
- Raga Bhairav (Indian Classical Scale): C, Db, E, F, G, Ab, B, C
- Arabic Scale: C, D, Eb, F#, G, Ab, B, C
Each of these scales and modes brings its own unique flavor and character to music, and many of them are used in various genres, from classical to jazz to world music. Exploring these different modes and scales greatly expands our musical palette and creativity.
More modal information
Q: What are the notes in a Super Locrian scale in C?
The Super Locrian mode is an extended version of the Locrian mode, and it includes the major 2nd, 4th, 7th, and 9th intervals.
In the key of C, the notes of the Super Locrian mode are:
- B (major 2nd)
- C (root)
- Eb (minor 3rd)
- D (minor 5th)
- F (minor 6th)
- Gb (minor 7th)
- Ab (minor 8th)
So, the notes of the Super Locrian scale in C are B-C-Eb-D-F-Gb-Ab.
In Western music, scales and modes are based on a pattern of whole and half steps that repeats across different notes. The major scale follows a specific pattern: W-W-H-W-W-W-H (whole-whole-half-whole-whole-whole-half).
When creating modes, you can start the mode on any note of the scale, not just the root note. The choice of starting note determines which intervals are used to build the mode.
In this case, starting the Super Locrian mode on B gives us a different set of intervals compared to starting it on C. By using the notes in a sequence that is derived from the major scale and adding some extended intervals
(such as the 13th), we get the unique sound of the Super Locrian mode.
Using B as the starting note for the Super Locrian mode creates an interesting and dissonant sound, which is one reason it’s often used to add tension or surprise in music.
The notes of the Super Locrian scale in C would be:
- C (root)
- D# (major 2nd, enharmonically equivalent to Eb)
- E
- G
- Bb
- Db
- F
This is very similar to the Locrian mode, but with a different starting point.
In Western music theory, the term “mode” usually implies a specific pattern of whole and half steps that can be applied across different scales. The Super Locrian scale is an extension of this idea, where you take the same pattern of whole and half steps and use it to create a new mode.
So, in a sense, if you start using the same sequence on C instead of B, you would still be creating the same “mode”, but with a different starting point. However, many music theorists and musicians consider this to be a variant or a variation of the Locrian mode, rather than a distinct new mode.
It’s worth noting that some alternative tunings and modes use different scale patterns, and the Super Locrian is an example of this type of extended mode-building.
In this case, when we start on C instead of B, the note that would normally be a major 2nd (D#) in the Super Locrian scale becomes an enharmonic equivalent (Eb). This is because Eb has the same frequency as D#, but is
represented by a different letter name.
So, the key insight here is that it’s not the starting point of the mode itself that defines it, but rather the pattern of whole and half steps that follows. As long as you’re using the same sequence of whole and half steps, you’re essentially creating the same mode.
In music theory, this means that modes are often described by their scale formulae or patterns of whole and half steps. These formulas can be used to generate all possible versions of a mode, regardless of the starting point. So, in this case, both B- and C-based Super Locrian scales would follow the same pattern of whole and half steps.
You’re correct that it’s the sequence of steps that matters, rather than the specific note or starting point. This is what allows modes to be so versatile and adaptable to different musical contexts.
The reason for this naming convention is due to how modes are typically constructed and named. In Western music theory, modes are often based on the ancient Greek system of modes, which was later adapted by medieval musicians. The Greeks had seven modes, each with its own characteristic sound and pattern.
When John Coltrane and other jazz musicians developed their own scales and modes in the 1950s and 1960s, they drew inspiration from the traditional modes. However, they also extended and modified these patterns to create new, more complex sounds.
The Super Locrian mode is an example of this extension process. The original Locrian mode was a relatively minor-sounding scale that used a very restricted pattern of whole and half steps. By extending this pattern with
additional intervals (the major 2nd, 4th, 7th, and 9th), Coltrane created a new mode that added more tension and dissonance to his music.
In the case of the C Super Locrian, the “C” refers not to the starting note itself, but rather to the fact that this is one possible variant of the Super Locrian scale. The “C” serves as a label or a reference point for this specific mode, even though it starts on a B.
So, in essence, the C Super Locrian is called such because it’s a variation of the Super Locrian scale that happens to start on a note relative to the key of C.
For the Super Locrian scale, there isn’t a traditional tonic or dominant note like you would find in a major or minor key. The reason for this is that the Super Locrian scale doesn’t follow the traditional tonal center pattern of whole and half steps.
However, if we try to establish a tonal center for the Super Locrian scale, we can look at the way it relates to the natural minor scale or the relative major/minor. The B-based Super Locrian scale (B, C#, D, E, F, Gb, Ab) is
closely related to the A harmonic minor scale (A, B, C#, D, E, F, G). If we take the tonal center of A as our reference point, we can see that the Super Locrian scale follows a pattern that’s similar to the harmonic minor
scale.
In terms of specific notes, if you wanted to identify a tonic or dominant note for the B-based Super Locrian scale, you might consider the C# ( enharmonically equivalent to Db) as a potential “tonic” note. This is because
it serves as a central reference point for the mode, and it’s closely related to the harmonic minor scale.
However, keep in mind that this is a bit of a stretch, and the Super Locrian scale doesn’t follow traditional tonal center patterns like you would find in major or minor keys. The mode’s sound and character are more focused
on its dissonant, tense intervals than on establishing a clear tonic or dominant note.
If we start with a C-based Super Locrian scale (C, D#, E, F, G, Bb, Db), the dominant note would be the Eb. However, this is still not a traditional dominant note like you’d find in a major or minor key.
To clarify, when I mentioned “C-based” Super Locrian scale, I meant to say that it’s an extension of the original Super Locrian mode, but starting on a different note (in this case, C).
However, what I should have said is that there isn’t really a separate “C Super Locrian” mode in the classical sense. The term “C Super Locrian” would imply a new, distinct scale starting on a C.
Instead, the C-based Super Locrian scale is simply another variant of the original Super Locrian mode, with the same pattern of whole and half steps but starting on a different note (in this case, C).
So, to be more accurate, I should have said that the C-based Super Locrian scale is an extension or a variant of the original B-based Super Locrian scale, rather than a separate “C Super Locrian” mode.
When playing a Super Locrian scale in a key, you’re really describing a specific pattern of whole and half steps. This means that the Super Locrian scale is less tied to traditional keys or tonal centers compared to major or
minor scales.
Think of it this way: when you play a C major scale (C, D, E, F, G, A, B), you’re essentially defining a specific pattern of whole and half steps that creates a sense of tonality. The C is the central reference point, and the other notes are arranged around it.
In contrast, the Super Locrian scale doesn’t have a fixed central reference point like C would in a major key. Instead, it’s more like a “pivot” point that allows you to explore different relationships between notes.
So, if you want to play a Super Locrian scale in what might feel like an unexpected key (like C), but still want to exploit the unique sound and tension of this mode, you’re on the right track!
To illustrate this further, consider playing a B-based Super Locrian scale (B, C#, D, E, F, Gb, Ab) over a chord progression that sounds like it’s in an unexpected key. The result might be something that feels dissonant or
tense, which is exactly what the Super Locrian mode is designed to achieve.
Ultimately, the beauty of the Super Locrian scale lies in its ability to subvert expectations and create new sonic possibilities – so feel free to experiment with it in any musical context!
- Minor keys: Start with traditional minor scales like A minor, E minor, or C minor. This will help
illustrate the Super Locrian’s ability to add tension to minor-key melodies. - Relative major/scale: Try starting on the relative major of a key (e.g., Bb Major is the relative minor of Eb). This can create interesting dissonances and tensions when used in harmony or melody writing.
- Modal interchange: Use the Super Locrian scale as part of a modal interchange approach, where you borrow notes from parallel modes or scales to create tension and release. For example, you could start on G (a note commonly found in Dorian mode) and use the B-based Super Locrian scale.
- Diatonic and chromatic: Mix diatonic notes (from a key or mode) with chromatic ones to create a sense of dissonance or tension. For example, start on C major and use the B-based Super Locrian scale, incorporating notes like Db, Eb, or Ab to add chromatic flavor.
- Modal mixture: Combine elements from multiple modes or scales to create a unique sound. For instance, you could start on A minor and use the B-based Super Locrian scale, then borrow notes from the Phrygian mode (e.g., E, G, Bb) to add color.
Some specific chord progressions or melodies that might be interesting with the B-based Super Locrian scale include:
- Using a I-iii-v progression in minor keys (e.g., Am – Em – Fm)
- Creating tension by borrowing from parallel modes or scales (e.g., using the Dorian mode over a major key chord progression)
- Exploring modal interchange by incorporating notes from other modes or scales (e.g., using the Lydian mode’s ascending pattern over a minor key)
Remember, the Super Locrian scale is all about creating tension and release through its unique sound. Feel free to experiment with different starting points and melodic ideas to showcase its diversity!
B, C#, D, E, F, Gb, Ab
To break it down further, here are the specific step intervals:
- W-W-H-W-W-H (whole-whole-half-whole-whole-half)
This means that each scale degree is separated by a specific interval pattern: whole (W), half (H), and then repeating.
For example, starting on B:
- B to C# is 1 whole step
- C# to D is 2 whole steps (or an octave)
- D to E is 1 whole step
- E to F is 2 whole steps
- F to Gb is 1 half step down
- Gb to Ab is 2 whole steps
This pattern of W-W-H-W-W-H creates the distinctive sound and tension associated with the Super Locrian mode.
Keep in mind that this scale can be used as a melodic or harmonic framework, depending on your musical context. Experimenting with different starting points, rhythmic patterns, and harmony techniques will help you unlock the full potential of the B-based Super Locrian scale!
Major Scales:
- C Major Scale:
* W-W-H-W-W-W (whole-whole-half-whole-whole-whole)
* Starting on C - G Major Scale:
* W-W-H-W-W-W (whole-whole-half-whole-whole-whole)
* Starting on G - D Major Scale:
* W-W-H-W-W-W (whole-whole-half-whole-whole-whole)
* Starting on D
Minor Scales:
- A Minor Scale:
* W-H-W-W-H-W (whole-half-whole-whole-half-whole)
* Starting on A - E Minor Scale:
* W-H-W-W-H-W (whole-half-whole-whole-half-whole)
* Starting on E - C Minor Scale:
* W-H-W-W-H-W (whole-half-whole-whole-half-whole)
* Starting on C
Mode Intervals:
Here are the step intervals for each of the 7 modes, which can be derived from the major and minor scales:
- Ionian Mode: Same as Major Scale
- Dorian Mode: W-H-W-WH (whole-half-whole-whole-half)
* Starting on C Dorian: C-D-Eb-F-G-A-Bb - Phrygian Mode: H-W-H-W-W-W (half-whole-half-whole-whole-whole)
* Starting on A Phrygian: A-GB-C-D-Eb-F - Lydian Mode: W-W-H-W-WH (whole-whole-half-whole-whole-half)
* Starting on C Lydian: C-D-E-G-A-Bb-C - Mixolydian Mode: W-W-H-W-W-W (whole-whole-half-whole-whole-whole)
* Same as Major Scale, but with a flatted 7th scale degree. - Aeolian Mode (Minor): Same as Minor Scale
Keep in mind that these modes are derived from the major and minor scales, so they share similar melodic contours. However, each mode has its own unique character and emotional connotation.
For example:
- The Dorian mode has a more “tragic” or “melancholic” sound due to its use of a flatted 3rd scale degree.
- The Phrygian mode has a more exotic or Middle Eastern flavor due to its use of a raised 1st and 4th scale
degrees. - The Lydian mode has a bright, uplifting quality due to its use of a major 4th scale degree.
Experimenting with these modes can help you create new and interesting musical ideas!
- Relative Mode Transitions: When transitioning from one mode to another that is relative (i.e., shares the same key center), you can use similar melodic material, but adjust the intervals used to fit the new mode.
For example, if you’re moving from C Major to G Major, which are both major scales with a W-W-H-W-W-W pattern, you can start on C and use the same intervals (W-W-H-W-W-W) for each note. As you move up or down in the scale, adjust the interval pattern to fit the new mode.
- Mode-Specific Intervals: Assign specific intervals to each note based on its position within the mode. For example:
- In the Dorian mode (W-H-W-WH), the 1st and 4th notes are typically major, while the 3rd is minor.
- In the Phrygian mode (H-W-H-W-W-W), the 1st and 5th notes are often raised, while the 2nd and 6th are lowered.
By using these mode-specific intervals, you can create melodies that change shape as you move between modes.
- Intervalic Progression: Use a specific interval progression to define the shape of your melody across
modes. For example:
- A descending chromatic pattern (e.g., C-Eb-Db-G) could be used in the Dorian mode.
- An ascending chromatic pattern (e.g., E-B-A-C) could be used in the Phrygian mode.
- Melodic Motifs: Use melodic motifs, or short melodic phrases, that can be adapted across modes. These motifs should contain a balance of consonant and dissonant intervals to create interest and tension.
For example:
- A phrase starting with a minor 3rd could be used in the Aeolian mode (W-H-W-WH).
- The same phrase ending on a major 5th could be used in the Mixolydian mode (W-W-H-W-W-W).
By using these techniques, you can create melodies that change shape and character as you move between modes.
Here’s an example of how this might work:
Let’s say you’re writing a melody for C Major. You start with a phrase using the W-W-H-W-W-W pattern: C-E-G-A-Bb-Db
Next, when transitioning to G Major (which is also a major scale), you could use similar intervals, adjusting for the new key center: G-B-D-E-F#-A
By using these techniques, you can create changing melodies that reflect the unique character of each mode.