Great Scott Henderson scale chart

I have not seen the video and I don't really understand the thinking. E.g. the blue marked notes that are indicated as 1-3-5 but marked as C-F-G in major 7 chords. Isn't 1-3-5 more like C-E-G and F an avoid note when playing a Cmaj7? Can you enlighten a bit more?
 
I have not seen the video and I don't really understand the thinking. E.g. the blue marked notes that are indicated as 1-3-5 but marked as C-F-G in major 7 chords. Isn't 1-3-5 more like C-E-G and F an avoid note when playing a Cmaj7? Can you enlighten a bit more?

The idea is that the scale has a diatonic major triad on the C, the F and the G.

Jens
 
I have not seen the video and I don't really understand the thinking. E.g. the blue marked notes that are indicated as 1-3-5 but marked as C-F-G in major 7 chords. Isn't 1-3-5 more like C-E-G and F an avoid note when playing a Cmaj7? Can you enlighten a bit more?

Ok now i see. Thanks!
 
Interesting way of organizing things.
Thanks!

FYI
C D Eb F Gb Ab Bb isn't the "C super-locrian" scale.
It's "C locrian #2" or "C locrian natural 2".
It's the 6th rotation (aka mode) of Eb melodic minor.

C super-locrian is the 7th rotation of Db melodic minor and is also known as the C altered dominant scale.
C Db Eb Fb Gb Ab Bb
Super-locrian is like a regular locrian scale with a flatted 4th scale degree.
[Eg.
C locrian = C Db Eb F Gb Ab Bb
C super-locrian = C Db Eb Fb Gb Ab Bb]

Super locrian also contains a min7b5 chord built off of its tonic.
Eg. Cmin7b5 exists within the notes of the C super locrian scale.
But super locrian isn't normally used on min7b5 chords because its b4 (a dim 4th above the tonic of the scale) scale degree is heard as a maj 3rd above the chord's root which, if emphasized, can confuse the ear as to whether the chord has a maj 3rd or a min 3rd.

The normal usage of super locrian in jazz improv is over dom7alt chords.
Eg. C7#5(b9#9#11) and/or C7b5(b9#9b13)
[I.e. A chord represented by the "X7alt" chord symbol should normally contain 1 3 and b7 and may also include #5 (aka b13) and/or b5 (aka #11) and/or b9 and/or #9; but should not include a perfect 5th or a major 9th or a perfect 11th or a maj 13th.
At least that's the way folks are supposed to interpret that chord symbol.
But lots of folks, probably the majority actually, just treat it like it means "a dom7 chord that has some altered extensions in it".
The safest voicings to play when you see that chord symbol are really based on the X7#5#9 chord symbol and there are several other scales that fit that sound as well as the altered dominant scale.]

Now, if you do decide to use the super locrian scale off the root of a min7b5 chord, and you do emphasize the b4 above the root, you can actually influence the listener's experience of that chord so that it sounds more like an altered dominant chord than a min7b5 chord.
It can be a cool trick.

This works best when the said min7b5 chord is part of a IIm7b5-to-V7 progression.
By emphasizing the b4 you change it into a V7alt(of-V)-to-V7 progression which still has the same type of forward moving feeling as the original progression.
Eg. Cm7b5 F7 Bbm becomes C7alt F7 Bbm.
[C7alt in the above progression is usually referred to as a secondary dominant chord whose function is as a chromatically altered approach chord to a chord with F as its root and is analyzed as the V7 chord in F.
I.e. F7 is the V chord in the primary key of Bb minor. C7 is the V7 chord in F. F major is a secondary key in this example.
Thus the moniker "V7-of-V" for the C7 chord.]

It doesn't work so well if the said min7b5 chord is not part of a IIm7b5-V7 progression though, so be careful.

On min7b5 chords, the usual suspects are locrian or locrian #2 - from the chord's root.
Eg.
C locrian (C Db Eb F Gb Ab Bb) on Cm7b5
or
C locrian #2 (C D Eb F Gb Ab Bb) on Cm7b5.
The latter scale affords the cool sound of a maj9 extension on this chord.
I.e. D natural can sound really cool when emphasized on a Cm7b5 chord as T9, in the right circumstances.

Locrian #2 works best on IIm7b5 chords when they occur in a major key (Eg. Cm7b5 as IIm7b5 in Bb major) as a borrowed chord from the parallel minor key (I.e. when Cm7b5 is functioning as a borrowed chord from the key of Bb minor - but the overall progression is really in Bb major).
If the overall key is really Bb minor then the D natural can sound really out of place even though it fits the chord so well vertically-speaking.
 
Interesting way of organizing things.
Thanks!

FYI
C D Eb F Gb Ab Bb isn't the "C super-locrian" scale.
It's "C locrian #2" or "C locrian natural 2".
It's the 6th rotation (aka mode) of Eb melodic minor.

C super-locrian is the 7th rotation of Db melodic minor and is also known as the C altered dominant scale.
C Db Eb Fb Gb Ab Bb
Super-locrian is like a regular locrian scale with a flatted 4th scale degree.
[Eg.
C locrian = C Db Eb F Gb Ab Bb
C super-locrian = C Db Eb Fb Gb Ab Bb]

Thanks for sharing the knowledge. Appreciate it.

Scott definitely talks about the superlocrian mode. In this case Eb melodic minor over a cm7b5.
'some people call this a super-loriancrian mode'.
Theoretically he may be mistaken but he plays the hell out of it.
Like John Scofield says in his scale video: some people assign different names to them. Sometimes I assign my own names to them. (something like that)
 
Thanks for sharing the knowledge. Appreciate it.

Scott definitely talks about the superlocrian mode. In this case Eb melodic minor over a cm7b5.
'some people call this a super-loriancrian mode'.
Theoretically he may be mistaken but he plays the hell out of it.
Like John Scofield says in his scale video: some people assign different names to them. Sometimes I assign my own names to them. (something like that)

My guess is that you misunderstood what SH was saying or that he had a brain fart while making the video.
He knows his stuff.
Yes, some scales have various different names.
But nobody that I've ever met calls the 6th mode of melodic minor "super locrian".
I suppose there's bound to be someone out there who does though. I just doubt that it's Scott Henderson.

Super locrian is a well known entity.
So is locrian #2.

Do you happen to have a link to the related video?
I wouldn't mind seeing what he actually says myself.

Of course the name you give to a chord-scale relationship doesn't really matter all that much as long as you understand the sounds that it can yield.
Still, there is usually some sort of logic involved in these scale naming practices and it helps to integrate the scales into your lexicon if your naming system is as logically consistent as possible.
It also aids in communication with other musicians.
Eg. I never used to like the name "locrian #2" and preferred the name "locrian natural 2" because a "#2" above the tonic would be enharmoncially equivalent to a min 3rd above the tonic, not to a maj 2nd above the tonic.
But since most folks call it "locrian #2", and I do understand their logic as well (i.e. it's like a locrian scale with *its* 2nd degree raised), I call it that myself now too most of the time.
 
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