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G♯ super locrian pentatonic Scale — Guitar Fretboard Visualization

Low E string: F#, G#, B, C, D at frets 2, 4, 7, 8, 10

A string: B, C, D, F#, G# at frets 2, 3, 5, 9, 11

D string: D, F#, G#, B, C, D at frets 0, 4, 6, 9, 10, 12

G string: G#, B, C, D, F# at frets 1, 4, 5, 7, 11

B string: B, C, D, F#, G#, B at frets 0, 1, 3, 7, 9, 12

High E string: F#, G#, B, C, D at frets 2, 4, 7, 8, 10

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G# super locrian pentatonic

The super locrian pentatonic compresses the altered scale into five notes: root, flat 3rd, diminished 4th, flat 5th, flat 7th. Every note beyond the root is an alteration or dark extension, so it screams for resolution, exactly what you want over an altered dominant before landing on the one chord. A compact tool for jazz tension playing.

it consists of these notes and degrees:

G♯

I

B

bIII

C

bIV

D

bV

F♯

bVII

super locrian pentatonic in all 12 keys, with chords and related scales

tip
  • Five altered tones over a dominant chord: use it on a V7alt in the key a 4th above G# and resolve by half step.
  • Think of it as the altered scale's skeleton: b3 (B) (the #9), b4 (C) (the 3rd in disguise), b5 (D) and b7 (F#) carry the essentials.
  • The b4 (C) is enharmonically the chord's major 3rd: lean on it when the line needs to still sound like a dominant.
  • Keep phrases short and land them: five tense notes with no release tire the ear quickly.

How to play G♯ super locrian pentatonic on guitar

A capo on fret 1 renders the whole key as G, so those fingerings transfer without thought. Open D and open B sit in the scale. Neither one is the fifth or the root, so the low pedal has to come from a fretted note; the G string carries a root at 1. Box one starts at 4, meaning the handover to the next shape lands at 8.

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