STRINGSCALES

E locrian #2 Scale — Guitar Fretboard Visualization

Low E string: E, F#, G, A, Bb, C, D, E at frets 0, 2, 3, 5, 6, 8, 10, 12

A string: A, Bb, C, D, E, F#, G, A at frets 0, 1, 3, 5, 7, 9, 10, 12

D string: D, E, F#, G, A, Bb, C, D at frets 0, 2, 4, 5, 7, 8, 10, 12

G string: G, A, Bb, C, D, E, F#, G at frets 0, 2, 3, 5, 7, 9, 11, 12

B string: C, D, E, F#, G, A, Bb at frets 1, 3, 5, 7, 8, 10, 11

High E string: E, F#, G, A, Bb, C, D, E at frets 0, 2, 3, 5, 6, 8, 10, 12

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E locrian #2

The locrian #2 scale is the sixth mode of the melodic minor scale, locrian with its flat 2nd raised to a natural 2nd. That one change gives half-diminished chords a usable scale without the b9 rub against the root, which is why jazz players treat it as the polished choice over m7b5 in minor ii-V-i progressions.

it consists of these notes and degrees:

E

i°

Edim
F♯

ii°

F♯dim
G

biii

Gm
A

iv

Am
B♭

bV+

B♭aug
C

bVI

Cmaj
D

bVII

Dmaj

Characteristic note: F# (natural 2), the natural second that makes this the friendlier half-diminished scale.

Same notes, different mode

E locrian #2 uses the same notes as the scales below. Start from a different note and you get a new mode built on the very same note set.

F# alteredG melodic minorA dorian b2Bb lydian augmentedC lydian dominantD mixolydian b6

locrian #2 in all 12 keys, with chords and related scales

tip
  • Over a m7b5 chord, E locrian #2 (G) is the polished choice: the natural 2nd (F#) removes the b9 clash that plain locrian has against the root.
  • Think melodic minor up a minor 3rd from E; borrowed fingerings work as-is.
  • Start lines on the natural 2nd (F#) to advertise the difference from locrian, then outline the half-diminished arpeggio.
  • In a minor ii-V-i, follow it with the altered scale of the V chord: two modes of neighboring melodic minors, one seamless line.

How to play E locrian #2 on guitar

Five of the six open strings belong to E locrian #2, with the root ringing on both E strings, so the scale drones from open position with no fretting hand. Open A, D and G add the fourth, the seventh and the minor third, which means phrases can mix open and fretted notes freely below fret 4. G melodic minor, 3 frets up, uses identical fingering. Tonic triad: Edim, diminished, and none of the seven chords works as a functional dominant.

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