Help needed: the LOCRIAN challenge

[Junta]

Hey Folks

After coming across two interesting You Tube videos about the use of the Locrian scale, I set myself a LOCRIAN challenge: Make a song in Locrian - not partially, but totally in Locrian!

This is a tough one ! I began putting together the piece below (this is just two bars so far basically). Before I spend more and more hours on this, I decided to check in with the pros/players who actually know a thing or two about music theory (I don't!)



Playing that, I feel like I am wandering aimlessly, not knowing where I am going... Am I even going anywhere? Without 'resolving' to anything, I amost feel like I am a little drunk ...

This is my 'map' - I am using this chart: Locrian in the key of D, using Drop D tuning on both guitar and bass. Drums come from the computer...

AM I doing this right?

Here are the videos that gave me the idea in the first place... I really like what a bunch of very talented You Tubers did in the second video (all original pieces).

Cheers!

 

[smeet]

Sounds pretty good to me! Metal likes locrian, that b9 works well.
In the genre, I would expect to hear a non-standard modulation for the next section, like going up to a Lydian or Ionian mode a half step higher.

 

[Junta]

Sounds pretty good to me! Metal likes locrian, that b9 works well.
In the genre, I would expect to hear a non-standard modulation for the next section, like going up to a Lydian or Ionian mode a half step higher.

Thanks smeet! Am I right in interpreting that you are suggesting that I mix it up with other scales (Lydian or Ionian)? I was hoping to make a song completely in Locrian, and nothing else... Maybe that is a bad idea...

Hmmm.

 

[smeet]

If you go to Ionian, you’re still paying all the same notes, just changing the root of the current chord. If you go to Lydian, you are changing one note (raising the b6 of the original key). So you’re still basically diatonic to the original key. But going up a half step just has that metal feel, and it’s moving the root to the b9 of the locrian, which is cool.

 

[bholder]

Locrian?? Y'all is a goin' to HECK! hehe

 

[Groove Doctor]

Chords built off C Locrian Scale

C dim
Db
Ebm
Fm
Gb
Ab
Bbm

So what’s the standard chord sequences in Locrian songs?
i iv bV?
i iv vii?

 

[Pacman]

This is not Technique related. Moved to General Instruction

 

[Junta]

an attempt to increase my 'locrianness'...

a couple of non-shreddy mini soloes added:

[Invalid or Expired Link Removed]

 

[Phaidrus]

There's a certain heaviness and melancholy in that half step after the root, in the Locrian mode/scale, especially if you add the third as well.

 

[Lostgallifreyan]

I didn't know about Locrian, but I tried what Wikipedia suggested, running white notes from B, and it reminded me immediately of something. If you listen to the third part of Tangerine Dream's 'Stratosfear', about 42% of the way in, there's a beautiful and very haunting flute tune that sounds like a Locrian scale rooted on D. I'm not sure how much of the rest of that track is Locrian though, but I can see why you might want to explore it. Very beautiful mode. That TD tune sounds like the kind of magic that ought to levitate large stones. I can see why the metal scene might like it.

Odd, previous poster is called Phaidrus... Slight change in spelling there, and Tangerine Dream, again...

 

[micguy]

If you get James to sing on it, it sounds like a good Metallica song, with one big/obvious exception: I can hear the bass guitar.

 

[Les Fret]

If you listen to the third part of Tangerine Dream's 'Stratosfear', about 42% of the way in, there's a beautiful and very haunting flute tune that sounds like a Locrian scale rooted on D...

That’s actually C Phrygian.

 

[Lostgallifreyan]

That’s actually C Phrygian.

Ok. I am never entirely certain with modes. I tend to think loosely about them. And bar lines.

 

[Jack Butler]

If you're going Locrian, why not be in F# too?

 

[Junta]

If you're going Locrian, why not be in F# too?

This is my 'first pass' with the theory part; but I think I have already learned more than I ever have with this hands-on approach, trying to make my sweet-nothing metal song... I am beginning to understand the overlaps with other keys/modes... With other passes, things will start sinking in, hopefully.

I am also beginning to realize how mathematical music theory is...

Cheers!

 

[Bunk McNulty]

In my world, the whole point of Locrian is to get open-mic players to wake up.

 

[Junta]

I would like to thank everybody who replied

and provided input - it has indeed been helpful.

Not only do I know a bit more about the Locrian mode, but I came to understand where I really have to focus on to keep continuing making sweet nothing songs, as opposed to leaving my 'projects' unfinished, as 'jingles' at best: I need to work on my knowledge of chord progressions

... A real light bulb moment...


I think this might be a good place for me to start (in addition to the real basics):





To date, I have mostly abandoned my song projects, with perhaps one of the rare exceptions being this one:





Hopefully, I will continue working on my Locrian song too and finish!


Thanks!

 

[mike buzzetti]

actually your MAP is all the modes connected together , when playing gtr I use MODES for my lead lines , Locrian and Lydian are offshoots of other modes , one is FLAT root the other is SHarp root , Locrian is the SHARP root of Ionian , Lydian is flat root of Phrygian FYI . the PATTERNS are the SAME .
I hope this doesn't just confuse Chit LOL !!!

 

[Junta]

actually your MAP is all the modes connected together , when playing gtr I use MODES for my lead lines , Locrian and Lydian are offshoots of other modes , one is FLAT root the other is SHarp root , Locrian is the SHARP root of Ionian , Lydian is flat root of Phrygian FYI . the PATTERNS are the SAME .
I hope this doesn't just confuse Chit LOL !!!

it sure does mike! Cheers!

 

[Malcolm35]

Way back when I was into modes people were saying that a backing track for a mode was a modal two-chord vamp of the root (tonic) I chord and then any chord that had the signature note of the mode you wanted. This set the key and the mood for your bass line. The following link points this out a little simplier than what I had to say.

With Locrian it was best over a one chord vamp of the 7th chord. Because you would use a one chord vamp there was no movement, you just stayed and banged out locrian's notes for a dark and tense mood.

OK that said, I never had a need for Locrian in what I did, so not going to be much help on what songs used Locrian...

This may help. IMO one of the better how to use modes out there. Demonstrating All 7 Modes in Parallel [MODAL MUSIC THEORY] - Bing video

Its fall, have fun y'll.