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Demystifying The Modes Part 7: The G# Locrian Mode

Tutor: Robbie Calvo | Gear used: Yamaha Revstar 502TFM & Line 6 Helix Floor Difficulty★★★★☆ | 15 mins per example

THE LOCRIAN MODE is the seventh mode of the major scale and creates a really dark, dissonant sound – perfect for movie soundtracks or haunting pop melodies. The A major scale contains these seven notes: A B C# D E F# G# AThe G# Locrian mode contains the same seven tones as the A major scale but starts and resolves on the seventh degree, G#: G# A B C# D E F# G#

Note that paying the A major scale from the seventh degree produces the G# Locrian mode. Think of the Locrian mode as a natural minor scale with a minor 2nd and a diminished 5th.

Harmonising The Scale

When we harmonise the major scale (build chords from those tones) we produce seven chords. Chords are built by stacking consecutive 3rd intervals from each of the seven scale tones. The resulting chordsbbuilt from the tones of the seventh mode are G# diminished or G#m7( 5) (including any diatonic variation and chord extensions).

The Tonal Centre

When we see a chord progression that starts with G# diminished or G#m7(b5)

and cycles through chords derived from the A major scale, then we know it’s a G# Locrian progression. This progression cycles through the chords like any other chord progression, but it will never sound rested due to the dissonant sound and the diminished nature of the ‘home’ chord. The resolution point of a chord progression is called the tonal centre. However, you’ll notice that the Locrian generally sounds anxious and unresolved.

Locrian Characteristic Note

Each mode of the major scale has a characteristic note that evokes the unique sound of that mode. The characteristic note of the Locrian (b5). mode is the diminished 5th.The G# Locrian characteristic note is D Here is an example of a G# Locrian chord progression (note: 6/8 timing): b5) b5) b5b9) b5b9) ||: G#m7( | Bm | G#m7( | Bm | A | E | G#( | G#( :||

Solo Tips

The track this issue is in 6/8 time, which means that I’ve phrased a lot of my ideas as triplets (in groups of three). The rhythmic feel will support this phrasing and make the licks and lines a lot stronger.

I’d also advocate playing the chord tones whenever possible and trying to choke the end of each phrase so that it’s not sustaining over the dissonant-sounding chord progression. Just remember the chord G#m7(b5) tones of the chord are G# B D F#.

You’ll notice I’m nailing those diminished 5ths (characteristic note and chord tone) and resolving to them often. This is how to evoke the dark flavour of the Locrian mode. Targeting the minor 2nd will also add spicy melodic flavours – just make sure you don’t try to resolve there!

G#m7(b5) I’m using arpeggios and the G# Locrian mode to create this issue’s solo. You could also try using E9 arpeggios, as these G#m7(b5) contain all four of the chord tones. So it’s a great way to target the tonal-centre chord and create some bluesy dominant lines in the process. You can also think of the E9 arpeggios being the G#m7(b5) diatonic chord substitution for a chord.

Take a moment to analyse the progression, tab and notation for a deeper understanding of why my lines work so well over the harmonic structure. Have fun learning my phrases and then dig into creating your own G# Locrian solos over the track.

Lick 1 The opening line

I’M TARGETING the root note (G#) and diminished 5th (D) characteristic note specifically with this opening line. I’m also employing implied bluesy bends to add a bit of sauce over the Bm chord. I’m utilising the G# Locrian scale tones to create additional melodic lines, making sure I get back ‘home’ to the D and G# chord tones for the final resolution.

Lick 2 Stacking 5ths & 4ths

YOU’LL NOTICE that I’m stacking 5ths and 4ths in a triplet motion that follows the diatonic scale tones from G#. You could also see this as a root/5th/root (an octave above). This line sounds dissonant, but it actually follows the chord progression nicely. This phrase culminates with a simple intervallic line derived from an F#m7 arpeggio, G#m7(b5) and resolves to the note B, the minor 3rd of the chord.

Lick 3 Using motifs

THIS LICK IS DERIVED from an F#m7 arpeggio. I’m playing a simple motif-based idea twice, which resolves to the G#m7(b5). minor 3rd (B) of The first phrase resolves to B on the fourth string, and the second time the phrase resolves to a doublestop 4th F# and B an octave higher. The final lick is a smooth descending glissandi line from B down to G# (the root) and characteristic note, the diminished 5th (D).

Lick 4 E major arpeggio

YOU’LL NOTICE THE SHAPE of an E major arpeggio at the 12th fret for the first two licks. I’m also bending the G#m7(b5), note C# up a half-step to the note D, making this an E7 arpeggio. E7 is the diatonic chord substitution for which is why it works so well. My crescendo line is a nice intervallic line of 6ths and 5ths descending towards the G# root note on the 9th fret, second string. I also harmonised this line a 3rd above for dramatic effect.