Enhancing the Harmony 2.2@ 2:45 +/-

Hi Hayden, At about 2:45 in this presentation, you use the term E Locrian b2. As you know, C the Locrian mode/ scale is– C – D – E – F – G – A.( b2, b3, b5, b6 & b7). Since the movement from B to C is already a b2, why do you use the terminology of E flat 2?
Asking for a friend…John Lander

Hi @landermaestro :wave:

Thanks for flagging this, I meant to say “Locrian Natural 2”, not “Locrian Flat 2”.

“Locrian flat 2” is actually just the Locrian mode. I will re-edit the lesson and fix by explanation here. Apologies for the confusion and I should have flagged this before uploading the lesson.


The “Locrian Natural 2” is also referred to as “Locrian #2” and this scale is the 6th mode of the melodic minor scale. The “Locrian Natural 2” mode shares the same notes as the regular Locrian mode, except that the 9th or 2nd degree is natural, or sharpened, however you want to look at it.

Example using E-7b5

So for the E-7b5 chord which is the chord we are referring to in the lesson that you reference at 2m45s, the Locrain mode would be:

E, F, G, A, Bb, C, D

and the “Locrian natural 2” would be:

E, F#, G, A, Bb, C, D

The Natural 2 In Voicings

The natural 2 can create a beautiful sound on minor 7b5 voicings, I show 2 of my favourite voicings for minor 7b5 chords in chapter 3 of this lesson:

I recommend to learn those 2 voicings for all 12 minor 7b5 chords. We also cover more theory and drills in these 2 lessons:

The Natural 2 In Improvised Melodies:

When creating improvised melodies over minor 7b5 chords we can use both of these modal scales as a ‘pool of notes’ from which to derive our melodies.

Of course the primary chord tones play a pivotal role as we have explored in our improvisation courses; much more so than simply running up and down the scale tones.

I was studying some recordings before my seminar earlier this month on the tune “I Fall In Love Too Easily” and I really like the solo in this recording:

Around 1m24s over the D-7b5 he plays both the b9 and the natural 9, then down the chord tones 7(C) and b5(Ab) and the line continues, which I really like and it illustrates that we don’t have to choose between modal scales in the sense of one or the other, but rather some notes are ‘flexible’ and we can even include both in our lines.

The above record is an accessible recording to study for simple lines and melodic ideas over minor 251s.

I created a longer playlist on the tune here for inspiration:

I hope that helps and let me know if you have any other questions on this.

Again thanks for flagging the error in my verbal explanation :+1: :sunglasses: