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Octotonic Scale Half - Whole
The other octotonic scale is one that repeats a semi tone, followed by a whole tone. This scale can be used to
improvise on altered chords (like C7b10).
Seen from the root tone of a chord, the scale goes through all alterations (tones that are not in the scale) possible, except for the 13. You could say the
scale is a sort of arpeggio on a 7b9b10+11 chord.
This is how it looks in C:
And this is how it sounds:
C Octotonic Half Whole
Super Locrian Scale
This scale that is sometimes written with a k (lokrian), is - just as the octotonic scales - a complex one.
Also this scale goes through alterations, in this case with a b13. The scale has seven tones:
In Jazz, the octotonic half-whole can be used on altered chords with a "normal" 13, the super locrian can be used on chords with a b13.
Note however that Jazz improvisation is more about listening, less about knowing what you play!
As complex this super locrain may look, it also sounds super! And there is an easier way to play it on guitar!
Take the root tone of the chord (e.g. in Cb9b13, that's the C). Add a semi tone, you get Db. Play the Melodic Minor scale on that new tone. the result is the same.
In other words: C Super Locrian is enharmonic the same as Db Melodic Minor.
In fact these two scales (C Super Locrian and Db Melodic Minor) are related. "Locrian" stands for "starting on the seventh tone".
C Super Locrian starts on the seventh tone of Db Melodic Minor.
C Super Locrian is:
"C" because it starts with a C.
"Locrian" because that C is the seventh tone of another scale (Db melodic minor).
"Super" because it sounds super! ...and because that other scale is not a "normal" scale, but a melodic minor scale.
This is how the super locrian scale sounds:
C Super Locrian
These last pages may seem a bit complex. In practice you do not realy need all information provided here. However, when you are looking for inspiration it does have added value. Try, experiment, hate it, love it, it will help you!