This mode is probably the most important one used in jazz music because it contains every potential tension tone commonly heard in Dominant 7th chords. These notes are the b5, #5(b6), b9(b2) and #9(b3). This mode can also be thought of as the Altered Scale, or the Diminished/Whole-Tone scale. Because of the second name, this scale is also a combination scale. The first half is the diminished scale, and the second half is the whole-tone scale.
|Diminin.|-|Whole-tone|
1-b2-b3-b4-b5-b6-b7-8
|----------Octave---------||------Extensions------|
1-b2-b3-b4-b5-b6-b7-8-b9-b10-b11-b12-b13
By stacking 3rds above the root, we get a series of diminished chords:
1-b3-b5= Diminished Triad
1-b3-b5-b7= Minor 7b5
1-b3-b5-b7-b9= Minor 7b5b9 (rare)
1-b3-b5-b7-b9-b11= Minor 7b5b9b11 (Extremely Rare)
1-b3-b5-b7-b9-b11-b13= Minor 7b5b9b11b13 (Very Rare)
Respelling the b6 as a #5, and the b4 as a 3 will produce the chords where this mode is commonly used over:
1-3-b5= Major b5 Triad
1-3-b5-b7= Dominant 7b5
1-3-b5-b7-b9= Dominant 7b5b9
1-3-b5-b7-#9= Dominant 7b5#9
1-3-#5-b7= Dominant 7#5 (AKA Aug.7)
1-3-#5-b7-b9= Dominant 7#5b9
1-3-#5-b7-#9= Dominant 7#5#9
1-3-b5-b7-b9-#9= Dominant 7b5b9#9
1-3-#5-b7-b9-#9= Dominant 7#5b9#9
In these vamps, be sure to bring out the tension tones in this mode (b9, #9, b5 and #5)
Vamp #1:(A7#5b9/A7b5) (Use A Super Locrian)
Vamp #2:(E7#9/G) (Use E Super Locrian)
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