Chords for How to use the Locrian mode
Tempo:
59.55 bpm
Chords used:
G
D
C
Eb
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D] [Bb] [D] Scales, modes, what are they?
Do [C] I need to know [G] scales?
How can I know which [F] scales play over this particular chord?
[Fm] The Locrian mode [Eb] is the seventh mode extracted from a major scale and it's often not used
that much just [Ab] because it sounds [G] kind of tense.
The formula of the Locrian mode has a minor second and a diminished fifth, which are not
the best notes if you want to create something really melodic.
It's kind of [B] difficult.
So in this lesson, we're going to talk about the Locrian mode and I'm [G] going to give you
a few tips [Ab] on how to use effectively the Locrian mode.
If we take a look at the formula of the Locrian mode, which [Gm] is root, minor second, [Eb] minor third,
perfect fourth, [D] diminished fifth, minor sixth, minor [F] seventh, we're going to take the root,
third, fifth, and seventh of that [Gbm] mode and see [Fm] what type of arpeggio we have.
You need to remember that [N] even though modes are considered as unique individual scales
with their own color, they still are related to each other.
They follow [Eb] each other on the fretboard.
The order is as follows.
Ionian, also known as the major scale, Dorian, Phrygian, Lydian, Mixolydian, [Ab] [Gb] Aeolian, also
known as the natural minor scale, and [C] Locrian.
That's the mode we're [Ab] interested in.
Let me share with you two commonly used shapes for that minor seventh, flat [Eb] fifth arpeggio.
The first shape is going to start on the sixth [Ab] string.
Here's how it sounds [G] in the key of A Locrian.
[A]
[A] [Eb] The second shape is going to start on the fifth [Abm] string.
Same arpeggio, [Ab] but the root's going to start on the fifth string, and in the key of A,
this is how it sounds like.
[Cm]
[N] Let's consider a backing track written in the key of G Ionian, G major.
You just need to follow the order of these modes.
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, [Eb] Locrian.
It's the seventh mode.
Just go up your G major scale [G] until you reach that seventh note.
One, two, [Cm] three, [D] four, five, [Gb] six, seven.
That's an F [F] sharp.
It means that over [C] a G major backing track, [G] [D] [G] you can play an F [Eb] sharp minor seventh flat
five arpeggio, just like we [Gb] talked about before.
[Am] [G] [Am]
[Gb] [N] And it's going to work with [Fm] any kind [F] of mode that we're going to use.
We're going to go through [N] a few examples just for you to hear the color of this particular
scale over different modes.
Let's check it out.
[D] Here's the D Mixolydian.
[G] Here's [D] the arpeggio.
[A] [C]
[Bb] So here's just the [Cm] color of the scale, C Aeolian.
[C] [Cm]
[C] Now, [Ab] D minor seven flat five.
[D]
[Bb] [Cm] [Fm] So the key is to try [Eb] to blend the actual [Fm] C Aeolian scale [Eb] with that particular [C] arpeggio
we just talked about, D minor seven flat five.
[Gm] [Fm]
[Cm] [Bb] [Fm]
[G] Here's the [C] scale of Aeolian.
[E] [Am]
[C] Here's F sharp minor seventh flat fifth.
See how it opens things up?
[E]
So you want to try to [Am] blend both, of course.
Phrase a little bit within the scale.
[D]
[Am] [Gb] [G]
[D] [C] I'll try that again.
Here's the arpeggio, F sharp minor seventh flat fifth.
[E] [Am]
[Fm] So that's how you can use the [Gb] Locrian scale within a non-Locrian context.
[D] That [Gm] arpeggio is so unique that it's going to really enrich your [B] improvisation.
The only thing you need to do is, besides memorizing these two Locrian [E] arpeggio positions,
is just make sure that you're aware of the [Eb] order of the modes.
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian.
[N] You should be reviewing these orders all the time.
They're [G] used all the time.
So, get to work.
I hope you find [F] this lesson inspiring.
[N] There's a lot to be said about the Locrian mode, but this is one of the uses.
I [Ab] hope it helps.
I will see you Wednesday for the Wednesday edition of the show.
Thanks for watching.
There's more and more people who are watching, [F] and I really appreciate it.
Thanks for your comments.
If there's anything you'd like [Ab] me to cover, leave a post on my channel or whatever.
And, as always, thanks for watching and please subscribe.
[B] Salut.
[C]
[Cm] [Ab] Oh, the secret code.
[D] The last part.
[G] S
[C] 2
Do [C] I need to know [G] scales?
How can I know which [F] scales play over this particular chord?
[Fm] The Locrian mode [Eb] is the seventh mode extracted from a major scale and it's often not used
that much just [Ab] because it sounds [G] kind of tense.
The formula of the Locrian mode has a minor second and a diminished fifth, which are not
the best notes if you want to create something really melodic.
It's kind of [B] difficult.
So in this lesson, we're going to talk about the Locrian mode and I'm [G] going to give you
a few tips [Ab] on how to use effectively the Locrian mode.
If we take a look at the formula of the Locrian mode, which [Gm] is root, minor second, [Eb] minor third,
perfect fourth, [D] diminished fifth, minor sixth, minor [F] seventh, we're going to take the root,
third, fifth, and seventh of that [Gbm] mode and see [Fm] what type of arpeggio we have.
You need to remember that [N] even though modes are considered as unique individual scales
with their own color, they still are related to each other.
They follow [Eb] each other on the fretboard.
The order is as follows.
Ionian, also known as the major scale, Dorian, Phrygian, Lydian, Mixolydian, [Ab] [Gb] Aeolian, also
known as the natural minor scale, and [C] Locrian.
That's the mode we're [Ab] interested in.
Let me share with you two commonly used shapes for that minor seventh, flat [Eb] fifth arpeggio.
The first shape is going to start on the sixth [Ab] string.
Here's how it sounds [G] in the key of A Locrian.
[A]
[A] [Eb] The second shape is going to start on the fifth [Abm] string.
Same arpeggio, [Ab] but the root's going to start on the fifth string, and in the key of A,
this is how it sounds like.
[Cm]
[N] Let's consider a backing track written in the key of G Ionian, G major.
You just need to follow the order of these modes.
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, [Eb] Locrian.
It's the seventh mode.
Just go up your G major scale [G] until you reach that seventh note.
One, two, [Cm] three, [D] four, five, [Gb] six, seven.
That's an F [F] sharp.
It means that over [C] a G major backing track, [G] [D] [G] you can play an F [Eb] sharp minor seventh flat
five arpeggio, just like we [Gb] talked about before.
[Am] [G] [Am]
[Gb] [N] And it's going to work with [Fm] any kind [F] of mode that we're going to use.
We're going to go through [N] a few examples just for you to hear the color of this particular
scale over different modes.
Let's check it out.
[D] Here's the D Mixolydian.
[G] Here's [D] the arpeggio.
[A] [C]
[Bb] So here's just the [Cm] color of the scale, C Aeolian.
[C] [Cm]
[C] Now, [Ab] D minor seven flat five.
[D]
[Bb] [Cm] [Fm] So the key is to try [Eb] to blend the actual [Fm] C Aeolian scale [Eb] with that particular [C] arpeggio
we just talked about, D minor seven flat five.
[Gm] [Fm]
[Cm] [Bb] [Fm]
[G] Here's the [C] scale of Aeolian.
[E] [Am]
[C] Here's F sharp minor seventh flat fifth.
See how it opens things up?
[E]
So you want to try to [Am] blend both, of course.
Phrase a little bit within the scale.
[D]
[Am] [Gb] [G]
[D] [C] I'll try that again.
Here's the arpeggio, F sharp minor seventh flat fifth.
[E] [Am]
[Fm] So that's how you can use the [Gb] Locrian scale within a non-Locrian context.
[D] That [Gm] arpeggio is so unique that it's going to really enrich your [B] improvisation.
The only thing you need to do is, besides memorizing these two Locrian [E] arpeggio positions,
is just make sure that you're aware of the [Eb] order of the modes.
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian.
[N] You should be reviewing these orders all the time.
They're [G] used all the time.
So, get to work.
I hope you find [F] this lesson inspiring.
[N] There's a lot to be said about the Locrian mode, but this is one of the uses.
I [Ab] hope it helps.
I will see you Wednesday for the Wednesday edition of the show.
Thanks for watching.
There's more and more people who are watching, [F] and I really appreciate it.
Thanks for your comments.
If there's anything you'd like [Ab] me to cover, leave a post on my channel or whatever.
And, as always, thanks for watching and please subscribe.
[B] Salut.
[C]
[Cm] [Ab] Oh, the secret code.
[D] The last part.
[G] S
[C] 2
Key:
G
D
C
Eb
Ab
G
D
C
_ [D] _ _ [Bb] _ [D] Scales, modes, what are they?
Do [C] I need to know [G] scales?
_ How can I know which [F] scales play over this particular chord?
[Fm] The Locrian mode [Eb] is the seventh mode extracted from a major scale and it's often not used
that much just [Ab] because it sounds [G] kind of tense.
The formula of the Locrian mode has a minor second and a diminished fifth, which are not
the best notes if you want to create something really melodic.
It's kind of [B] difficult.
So in this lesson, we're going to talk about the Locrian mode and I'm [G] going to give you
a few tips [Ab] on how to use effectively the Locrian mode.
If we take a look at the formula of the Locrian mode, which [Gm] is root, minor second, [Eb] minor third,
perfect fourth, [D] diminished fifth, minor sixth, minor [F] seventh, we're going to take the root,
third, fifth, and seventh of that [Gbm] mode and see [Fm] what type of arpeggio we have.
You need to remember that [N] even though modes are considered as unique individual scales
with their own color, they still are related to each other.
They follow [Eb] each other on the fretboard.
The order is as follows.
Ionian, also known as the major scale, Dorian, Phrygian, Lydian, Mixolydian, [Ab] [Gb] Aeolian, also
known as the natural minor scale, and [C] Locrian.
That's the mode we're [Ab] interested in.
Let me share with you two commonly used shapes for that minor seventh, flat [Eb] fifth arpeggio.
The first shape is going to start on the sixth [Ab] string.
Here's how it sounds [G] in the key of A Locrian.
[A] _ _ _ _ _
[A] _ [Eb] The second shape is going to start on the fifth [Abm] string.
Same arpeggio, [Ab] but the root's going to start on the fifth string, and in the key of A,
this is how it sounds like.
[Cm] _ _ _ _
_ [N] Let's consider a backing track written in the key of G Ionian, G major.
You just need to follow the order of these modes.
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, [Eb] Locrian.
It's the seventh mode.
Just go up your G major scale [G] until you reach that seventh note.
One, two, [Cm] three, [D] four, five, [Gb] six, seven.
That's an F [F] sharp.
It means that over [C] a G major backing track, [G] _ [D] _ _ [G] you can play an F [Eb] sharp minor seventh flat
five arpeggio, just like we [Gb] talked about before.
[Am] _ _ [G] _ _ _ _ [Am] _
_ [Gb] _ [N] And it's going to work with [Fm] any kind [F] of mode that we're going to use.
We're going to go through [N] a few examples just for you to hear the color of this particular
scale over different modes.
Let's check it out.
_ _ [D] Here's the D Mixolydian. _ _ _ _
_ [G] Here's [D] the arpeggio. _ _ _ _
_ _ _ [A] _ _ [C] _ _
[Bb] So here's just the [Cm] color of the scale, C Aeolian.
_ [C] _ _ [Cm] _ _
[C] _ Now, [Ab] D minor seven flat five.
[D] _ _ _
[Bb] _ [Cm] _ _ _ _ [Fm] So the key is to try [Eb] to blend the actual [Fm] C Aeolian scale [Eb] with that particular [C] arpeggio
we just talked about, D minor seven flat five.
_ _ _ _ [Gm] _ _ [Fm] _ _
_ [Cm] _ _ [Bb] _ _ [Fm] _ _
[G] Here's the [C] scale of Aeolian.
[E] _ _ [Am] _ _ _ _
[C] Here's F sharp minor seventh flat fifth.
_ See how it opens things up?
[E] _ _ _ _ _ _ _
So you want to try to [Am] blend both, of course.
Phrase a little bit within the scale.
_ [D] _ _ _
[Am] _ _ _ _ [Gb] _ _ [G] _ _
_ [D] _ _ [C] _ _ I'll try that again.
Here's the arpeggio, F sharp minor seventh flat fifth.
[E] _ _ _ _ _ _ [Am] _
[Fm] So that's how you can use the [Gb] Locrian scale within a non-Locrian context.
[D] That [Gm] arpeggio is so unique that it's going to really enrich your [B] improvisation.
The only thing you need to do is, besides memorizing these two Locrian [E] arpeggio positions,
is just make sure that you're aware of the [Eb] order of the modes.
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian.
[N] You should be reviewing these orders all the time.
They're [G] used all the time.
So, get to work.
I hope you find [F] this lesson inspiring.
[N] There's a lot to be said about the Locrian mode, but this is one of the uses.
I [Ab] hope it helps.
I will see you Wednesday for the Wednesday edition of the show.
Thanks for watching.
There's more and more people who are watching, [F] and I really appreciate it.
Thanks for your comments.
If there's anything you'd like [Ab] me to cover, leave a post on my channel or whatever.
And, as always, thanks for watching and please subscribe.
[B] Salut.
[C] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Cm] _ [Ab] Oh, the secret code.
[D] The last part.
[G] _ _ S
[C] 2 _
Do [C] I need to know [G] scales?
_ How can I know which [F] scales play over this particular chord?
[Fm] The Locrian mode [Eb] is the seventh mode extracted from a major scale and it's often not used
that much just [Ab] because it sounds [G] kind of tense.
The formula of the Locrian mode has a minor second and a diminished fifth, which are not
the best notes if you want to create something really melodic.
It's kind of [B] difficult.
So in this lesson, we're going to talk about the Locrian mode and I'm [G] going to give you
a few tips [Ab] on how to use effectively the Locrian mode.
If we take a look at the formula of the Locrian mode, which [Gm] is root, minor second, [Eb] minor third,
perfect fourth, [D] diminished fifth, minor sixth, minor [F] seventh, we're going to take the root,
third, fifth, and seventh of that [Gbm] mode and see [Fm] what type of arpeggio we have.
You need to remember that [N] even though modes are considered as unique individual scales
with their own color, they still are related to each other.
They follow [Eb] each other on the fretboard.
The order is as follows.
Ionian, also known as the major scale, Dorian, Phrygian, Lydian, Mixolydian, [Ab] [Gb] Aeolian, also
known as the natural minor scale, and [C] Locrian.
That's the mode we're [Ab] interested in.
Let me share with you two commonly used shapes for that minor seventh, flat [Eb] fifth arpeggio.
The first shape is going to start on the sixth [Ab] string.
Here's how it sounds [G] in the key of A Locrian.
[A] _ _ _ _ _
[A] _ [Eb] The second shape is going to start on the fifth [Abm] string.
Same arpeggio, [Ab] but the root's going to start on the fifth string, and in the key of A,
this is how it sounds like.
[Cm] _ _ _ _
_ [N] Let's consider a backing track written in the key of G Ionian, G major.
You just need to follow the order of these modes.
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, [Eb] Locrian.
It's the seventh mode.
Just go up your G major scale [G] until you reach that seventh note.
One, two, [Cm] three, [D] four, five, [Gb] six, seven.
That's an F [F] sharp.
It means that over [C] a G major backing track, [G] _ [D] _ _ [G] you can play an F [Eb] sharp minor seventh flat
five arpeggio, just like we [Gb] talked about before.
[Am] _ _ [G] _ _ _ _ [Am] _
_ [Gb] _ [N] And it's going to work with [Fm] any kind [F] of mode that we're going to use.
We're going to go through [N] a few examples just for you to hear the color of this particular
scale over different modes.
Let's check it out.
_ _ [D] Here's the D Mixolydian. _ _ _ _
_ [G] Here's [D] the arpeggio. _ _ _ _
_ _ _ [A] _ _ [C] _ _
[Bb] So here's just the [Cm] color of the scale, C Aeolian.
_ [C] _ _ [Cm] _ _
[C] _ Now, [Ab] D minor seven flat five.
[D] _ _ _
[Bb] _ [Cm] _ _ _ _ [Fm] So the key is to try [Eb] to blend the actual [Fm] C Aeolian scale [Eb] with that particular [C] arpeggio
we just talked about, D minor seven flat five.
_ _ _ _ [Gm] _ _ [Fm] _ _
_ [Cm] _ _ [Bb] _ _ [Fm] _ _
[G] Here's the [C] scale of Aeolian.
[E] _ _ [Am] _ _ _ _
[C] Here's F sharp minor seventh flat fifth.
_ See how it opens things up?
[E] _ _ _ _ _ _ _
So you want to try to [Am] blend both, of course.
Phrase a little bit within the scale.
_ [D] _ _ _
[Am] _ _ _ _ [Gb] _ _ [G] _ _
_ [D] _ _ [C] _ _ I'll try that again.
Here's the arpeggio, F sharp minor seventh flat fifth.
[E] _ _ _ _ _ _ [Am] _
[Fm] So that's how you can use the [Gb] Locrian scale within a non-Locrian context.
[D] That [Gm] arpeggio is so unique that it's going to really enrich your [B] improvisation.
The only thing you need to do is, besides memorizing these two Locrian [E] arpeggio positions,
is just make sure that you're aware of the [Eb] order of the modes.
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian.
[N] You should be reviewing these orders all the time.
They're [G] used all the time.
So, get to work.
I hope you find [F] this lesson inspiring.
[N] There's a lot to be said about the Locrian mode, but this is one of the uses.
I [Ab] hope it helps.
I will see you Wednesday for the Wednesday edition of the show.
Thanks for watching.
There's more and more people who are watching, [F] and I really appreciate it.
Thanks for your comments.
If there's anything you'd like [Ab] me to cover, leave a post on my channel or whatever.
And, as always, thanks for watching and please subscribe.
[B] Salut.
[C] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Cm] _ [Ab] Oh, the secret code.
[D] The last part.
[G] _ _ S
[C] 2 _