I've always understood Superlocrian to be built off the seventh
degree of a melodic minor scale so yes it is the same as an altered
scale. Locrian Nat 2 is built off the sixth degree of the melodic
minor scale so it isn't the same as superlocrian. Perhaps this
locrian nat 2 voicing is a reharm using modal interchange from the
melodic minor scale. Though I'm not sure of it's context overall.
I'd probably write it as a polychord (not slash chord) with F#dim/E-7
(b5) for the rhythm section players with E locrian nat 2 being the
chord scale (or I suppose one could just play a G melodic minor
starting on E.)
-K
On Jul 3, 2007, at 3:07 PM, A-NO-NE Music wrote:
Harbie voices F# on E-7(b5). F# doesn't exist on E Locrian.
That's why
it sounds so cool, but one of a famous jazz schools started to
call it
"Super Locrian". I have a problem with that, big time.
Are you sure that it is the locrian nat2 scale that is called
Superlocrian? I always thought that was another name for the
altered scale. In other words, the E locrian with an F# , but
starting on F#, would be F# superlocrian, playable over an F#
altered dominant chord. What school uses Superlocrian for the
locrian nat2 scale?
If you play E Locrian scale with F# instead of F, you should
immediately
hear it is a C Mixo (#11) scale. To me, it is more logical to call a
chord name with derived chord scale, which is important for
improviser
in improvisational music context. Do you not think?
I like to know what the parent scale is, too, but I think most
improvisors want to know the scale starting from the bass note. So
they would probably prefer to say E locrian nat2 (describing it as
an altered locrian scale) rather than Cmixo(#11) over E bass. I
know you cats over at New England Conservatory see things a little
differently...
Christopher
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