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.