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The Sound of Super Locrian Natural 6
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The Sound of Super Locrian Natural 6

Super Locrian Natural 6 (aka Altered Dominant ♮6) – the fourth mode of Hungarian Major. This mode really surprised me in a positive way. After working through quite a few scales and modes by now, I’ve noticed that those lacking a perfect fifth are usually rather hard to utilize. There are exceptions, but they’re rare. To my advantage, Super Locrian Natural 6 turned out to be one of those few exceptions. I knew right away I wanted to go for something crazy, dark, evil, and twisted – it’s just the natural vibe this scale gave me. Evil: the main melody came to me quickly and almost effortlessly. It just clicked – and what really surprised me was how oriental and exotic it sounded, even though it lacked a perfect fifth. I realized I had found a perfect tool for creating oriental colors over diminished textures. Twisted: at the same time, as I was shaping this melody, it naturally rolled into an unusual rhythmic flow. Only after analyzing what my subconscious had thrown at me did I realize it was in 5/8 – twisted not only harmonically, but rhythmically as well. The buildup in the main solo section was a fascinating compositional challenge for me. During this process, I discovered a strange yet beautiful, almost otherworldly chord progression that seemed to flow and cycle within itself. All of it was embedded in the structure of Super Locrian Natural 6 – mind-blowing to experience, even though I already knew it is closely related to the Diminished Half-Whole scale, with the only difference being the missing fifth note. The Half-Whole Diminished scale is an enigma in itself: filled with clusters that generate darkness and tension, yet also containing spread-out intervals that occasionally burst with brightness. Whenever you examine any mode of Hungarian Major, you need to keep in mind how closely it relates to the Diminished Half-Whole. This awareness can help to crack the code. With all of that in the back of my mind, the chord progression felt like a revelation: naturally evolving from the Cdim7 / Cm7b5 vamp, moving into this perfect cycle – Cmajb5 → F# → A → Cmajb5 → Cdim7 / Cm7b5 – and finally resolving on the grandiose Cmajb5 chord. All these tritone and chromatic mediant relationships are incredibly useful to understand and can serve as portals or wormholes. You can basically swerve in any direction you want without really going wrong. It’s like floating in space – you lose any sense of gravitational pull and are free to go wherever you want. If you choose, you can cycle endlessly through time and space. As for the solo part, I was only moderately satisfied. I had many ideas while experimenting, but quickly realized I didn’t yet have the technique for most of them. Especially the maj♭5 arpeggio and its inversions, which I still don’t fully master across the fretboard. The fully diminished and half-diminished arpeggios also offered countless possibilities that I simply couldn’t explore to their full extent at that time. All in all, I was genuinely surprised and proud of the groove and the development of the composition. To my ears, it became something orchestral and grand, with that otherworldly character that I love so much. It reminded me once again that there’s still so much to discover in music. And I’m not even talking about microtonality – I’ve been “limiting” myself to “just” 12-TET and heptatonic scales for these studies, and that alone already feels infinite. It really makes you wonder what kind of sounds are still out there waiting to be discovered... #hungarianmajor #locrian #metal #musictheory #guitar

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