Tutor: Robbie Calvo | Gear used: Difficulty #44 | 15mins per example ‘THE LOGRIAN MODE isthe seventh mode ofthe major scale and ‘creates a really dark, dissonant sound — perfect for movie soundtracks ‘orhaunting pop melodies. The A major scale contains these seven notes: B CHD E Fit Git AThe Gif Locrian mode contains the same seven tones as the A major scale but stats and resolves onthe seventh degree. GH: Git A B CHD E F# GH Note that paying the Amajor scale from the seventh degree produces the G# Locrian mode. Thinkof the Locrian mode as a natural minor scale witha minor 2nd and a diminished Sth. Harmonising The Scale ‘When we harmonise the major scale (build chords fram these tones) ‘we produce seven chords, Chords are bul by stacking consecutive 3rd intervals trom each ofthe seven scale tones, The resulting chords bult ‘romthe tones of the seventh mode are Gf diminished or G#tm705) (including any datonic variation and chord extensions). R Mins DimS Min? Chordtones Resulting chord GAB C#D E FeGe Ge+B+D+Fe = Gem7(s) The Tonal Centre ‘When we see. chord progression that starts with Gf diminished or Giirn765) and oyces through chords derived from the Amajor scale, then we know it's G# Locrian progression. Tis progression cycles trough the chords Ike any other chord progression, but it will never sound rested due tothe clssonant sound andthe diminished nature ‘ofthe home’ chord, The resolution pont ofa chord progressions ‘called the tonal centre. However, youlinotce thatthe Locrian generally sounds ansicus and unrescvect maha Revstar 502TFM & Line 6 Helix Floor Locrian Characteristic Note Each mode ofthe major scale has a characteristic note that evokes the unique sound ofthat mode. The characteristic note ofthe Locrian ‘modes the diminished Sth. The G Locrian characteristicnote sD 65) Here is an example ofa Gt Locrian chord progression (note: 94 timing) -Gam765)| Bm |Gem7G5)| Bm | A) E | GeG5:9) | Gal5.9) Solo Tips The track this issue sin 6 time. which means that ve phrased lt of, ‘my ideas as triplets (in groups of tree). The rhythmic feel wil support ‘this phrasing and make the icks and lines ot stronger. Faso advocate paying the chord tones whenever possible and trying to choke the endof each phrase so that its not sustaining over ‘the dssonant-souncing chord progression Just remember the chord tones of the Gitm765) chordare GHB DFA ‘You'tnotice 'm naling those diminished 5ths (characteristic note andchord tone) and resolving to them often. Thsishow to evoke the dark flavour ofthe Locrian mode. Targeting the minor 2ndvalaiso ad spicy melodic favours just make sure you don't ry to resolve there! musing G#m765) arpeggios andthe G# Locrian mode to create thisissue's solo. You could aso ty using E9 arpeggios, as these contain alfour ofthe Gi#m7(5) chord tones. So isa great way to target the tonal-centre chord and create some bluesy dominant lines inthe process. Youcan also thinkof the E9erpegsios bein the diatonic chord substitution fora GHm765) chord, Take a moment to analyse the progression, ab andnotation fora deeper understanding of why my ines work so well ever the harmon structure. Have fun learning my phrases and therdiginto creating your own Gi Locrian solos over the track ‘wun robbiecalva.com