Modal Magic I: The Superlocrian Mode Over A Perfect Cadence And Why It Works.

For those of you that are unaware, the Superlocrian mode is mode VII of the Melodic scale and its formula is (1 b2 b3 b4 b5 b6 b7). Its name comes from comparing it to mode VII of the Major scale, the Locrian mode (1 b2 b3 4 b5 b6 b7). You can see that the natural 4th in the Locrian mode is flattened in the Superlocrian, and the name, super meaning more or greater, is simply ‘even more Locrian’ than the Locrian mode itself.

NB: The Superlocrian mode is also known as the Altered mode, as every note in its formula is altered. Obvious, really.

In jazz, the Superlocrian mode is the go to mode of choice for many when playing over a V – I minor, and the resultant sound has these intervals:

(G7 – C minor) G Superlocrian = G Ab Bb Cb Db Eb F = 1 b2 #2 3 b5 #5 b7

You can see that when played over a dominant chord, the standard practise is to use enharmonic equivalents for the intervals b3, b4, b6 and instead name them #2, 3, #5. All of this is pretty standard music theory, but here is where it gets interesting.

The circle of fifths is present in music much more often than one might think, even in the use of the Superlocrian over a dominant chord. So, if we ask what is happening when the mode is played over a dominant chord, we get an interesting insight into the use of modes in jazz and the underlying movement in the music itself.

G Superlocrian is mode VII of Ab Melodic. C Melodic is the relative minor of Eb Major, so moving to the relative Major is the first change. Moving back a fifth in the circle of fifths, from Eb Major, we get Ab Major. Now, instead of using the Major scale and playing its mode VII, G Locrian, which would give us a C natural (4th or 11th) over the dominant chord, the Melodic scale is substituted and Ab Melodic is played, giving us the Major 3rd. This is shown below:

(G7 chord in C minor) – relative Major (Eb Major) – (move back a 5th) Ab Major – (substitute) Ab Melodic – C minor (resolve)

So you can see that the circle of fifths has a role to play in the choice of mode and is hidden from view, but it is still at work. Next, I shall take a look at the Locrian natural 2/Aeolian b5 mode when it is played over the ii chord in a ii V I minor change.

Thanks for reading.