Superlocrian natural 6 Mode on Guitar: Notes, Chords & Examples

  • May 21, 2026

The Superlocrian ♮6 mode is tense, angular, and highly unstable, perfect for guitarists who like dark fusion lines, progressive metal riffs, and altered dominant sounds.

It has the danger of the altered scale, but with one important twist: the natural 6. That note gives the mode a slightly brighter, more “fusion” color compared to the regular Superlocrian scale, which usually has a flat 6.

This is not a soft, singable mode like Dorian or Mixolydian. C Superlocrian nat6 is more like a controlled explosion: dissonant, chromatic, and full of resolution energy.

Use it when you want:

  • Altered dominant tension
  • Dark modern jazz/fusion lines
  • Outside-sounding metal riffs
  • Chromatic progressive harmony
  • A dominant chord that sounds unstable but sophisticated

What Is Superlocrian ♮6?

C Superlocrian ♮6 is an advanced synthetic mode commonly understood as a variation of the Superlocrian/altered dominant sound.

It contains:

  • A flat 2
  • A flat 3 / sharp 9 sound
  • A diminished 4, enharmonically the major 3rd
  • A flat 5
  • A natural 6
  • A flat 7

That combination creates a strong dominant 7 altered color.

The natural 6 is what makes this mode different from the standard altered scale. In C, that note is A, which sounds like a natural 13 over C7.

So instead of a fully dark C7alt sound with b13, you get something more open and fusion-like:

C7 with b9, #9, b5, and natural 13.

Formula

The interval formula for C Superlocrian ♮6 is:

1 b2 b3 b4 b5 6 b7

Using strict interval names:

P1 m2 m3 d4 d5 M6 m7

For guitarists and improvisers, it is often easier to think of it over a dominant chord as:

1 b9 #9 3 b5 13 b7

That means the same pitch collection can be interpreted two ways:

  • Theoretically: b3 and b4
  • Functionally over C7: #9 and major 3rd

This enharmonic flexibility is part of the mode’s sound.

Notes in C

The notes of C Superlocrian ♮6 are:

C Db Eb Fb Gb A Bb

Because Fb is enharmonic to E, guitarists will often see or play it as:

C Db Eb E Gb A Bb

Both spellings matter.

The strict spelling shows the modal structure:

C Db Eb Fb Gb A Bb

The practical dominant-chord spelling shows the sound over C7:

C Db Eb E Gb A Bb

The Chord That Defines the Mode

The defining chord of C Superlocrian ♮6 is:

C13(b9 #9 b5)

You could also write it as:

C7(b9 #9 b5 13)

Chord tones and tensions:

  • C = root
  • E / Fb = major 3rd, spelled as diminished 4 in the mode
  • Gb = b5
  • Bb = b7
  • Db = b9
  • Eb = #9
  • A = natural 13

This chord captures the mode because it contains the main altered dominant colors while keeping the natural 6/13.

That A natural is the important note. In a regular C altered scale, you would usually hear Ab as the b13. Here, the A gives the chord a sharper, more modern fusion quality.

A simple voicing idea on guitar:

C13(b9 b5)

E|---x---
B|---6---  A  = 13
G|---3---  Bb = b7
D|---4---  Gb = b5
A|---3---  C  = root
E|---x---

You can add the b9 or #9 melodically on top:

  • Db = b9
  • Eb = #9

Chord Progressions

Because C Superlocrian ♮6 is so tense, it works best in short vamps, modal riffs, or dominant-function moments.

The key is to keep C feeling like the tonal center.

Progression 1: Dark Fusion Dominant Vamp

Roman numerals:

I7(b9 #9 b5 13) – bV – bIIImin – I7(b9 #9 b5 13)

In C:

C13(b9 #9 b5) – Gb – Ebm – C13(b9 #9 b5)

This progression has a dark, cinematic fusion sound.

The Gb major chord emphasizes the b5 area, while Ebm brings out the #9/minor-third color. Returning to C13 altered keeps the whole thing unstable and tense.

Great for:

  • Fusion rhythm guitar
  • Progressive rock sections
  • Dark soundtrack-style harmony

Progression 2: Half-Diminished Tension Loop

Roman numerals:

I7(b5 13) – VIø7 – bVII° – I7(b9 b5)

In C:

C7b5(add13) – Aø7 – Bbdim – C7(b9 b5)

This one sounds more jazz-fusion and mysterious.

The Aø7 chord uses the notes:

A C Eb Gb

Those are all inside C Superlocrian ♮6.

The Bbdim chord uses:

Bb Db Fb

Enharmonically, that is:

Bb Db E

This creates a tight chromatic pull back into the C altered dominant sound.

Progression 3: C Pedal Prog Metal Vamp

Roman numerals:

I7alt – bIIImin/I – bV/I – VI°/I

In C:

C13(b9 #9 b5) – Ebm/C – Gb/C – A°/C

This progression works especially well with a low C pedal tone.

The upper chords move around while the bass stays locked on C. That makes the harmony sound modal instead of like a normal functional chord progression.

Mood:

  • Mechanical
  • Dark
  • Progressive
  • Slightly “outside”

Try playing the low C as a palm-muted pedal and stab the chords above it.

Guitar Fretboard Shape

Here is a practical C Superlocrian ♮6 shape.

This version uses the guitar-friendly enharmonic spelling:

C Db Eb E Gb A Bb

E|-------------------------8-9-11-12-|
B|------------------10-11-13---------|
G|-------------8-9-11----------------|
D|------7-8-10-----------------------|
A|-7-9-12----------------------------|
E|-8-9-11-12-------------------------|

Notes:

  • C = 8th fret low E, 10th fret D, 13th fret B, 8th fret high E
  • Db = 9th fret low E, 9th fret high E
  • Eb = 11th fret low E, 8th fret G, 11th fret high E
  • E / Fb = 12th fret low E, 7th fret A, 9th fret G, 12th fret high E
  • Gb = 9th fret A, 11th fret G
  • A = 12th fret A, 7th fret D, 10th fret B
  • Bb = 8th fret D, 11th fret B

Practice it slowly. This is not a “run up and down mindlessly” kind of mode. The sound comes from targeting the right intervals.

Why Guitarists Love This Mode

Emotional Flavor

C Superlocrian ♮6 sounds tense, unstable, and modern.

It has the classic altered dominant darkness from:

  • b9
  • #9
  • b5
  • b7

But the natural 6 gives it a slightly more open sound than the regular altered scale.

That makes it great for players who want something dark without sounding completely closed or diminished.

Riff Potential

This mode is excellent for heavy riffs because it contains several aggressive half-step and tritone relationships.

Strong riff intervals include:

  • C to Db = dark b2 crunch
  • C to Gb = tritone
  • E to Gb = tense chromatic dominant color
  • Bb to C = classic dominant pull
  • A to Bb to C = strong upward resolution

For metal, try using a low C pedal with quick chromatic hits:

C - Db - C - Gb - C - A - Bb - C

That gives you a riff that sounds twisted but still centered.

Soloing Applications

C Superlocrian ♮6 works especially well over:

  • C7alt
  • C7b5
  • C13(b9)
  • C7(#9 b5)
  • Dominant chords resolving to F minor or F major
  • Static C dominant fusion vamps

The natural 13, A, is the money note. It separates this mode from more common altered sounds.

Try resolving lines like:

Db - Eb - E - Gb - A - Bb - C

That line outlines the b9, #9, 3, b5, 13, b7, and root.

Very fusion-friendly.

Genres Where It Works Well

C Superlocrian ♮6 fits naturally in:

  • Jazz fusion
  • Progressive rock
  • Progressive metal
  • Modern metal
  • Experimental rock
  • Film/game scoring
  • Advanced blues-jazz dominant soloing

It is not usually a “mainstream pop songwriting” mode, but it is powerful for short moments of high tension.

Tips for Practicing

Use a C Drone

Start with a low C drone.

You can use:

  • A looper pedal
  • A synth drone
  • A bass note in your DAW
  • The open low C if you tune down
  • A sustained C power chord

Play the scale slowly against the drone and listen to each interval.

Focus especially on:

  • Db = b9
  • Eb = #9 sound
  • E / Fb = dominant 3rd
  • Gb = b5
  • A = natural 13
  • Bb = b7

Try Simple Chord Vamps

Good vamps include:

C13(b9 b5) - Gb
C7b5 - Aø7
C pedal - Ebm/C - Gb/C - C7alt

Keep the harmony simple. The scale is already complex.

Improvise with Targets

Do not just run the scale.

Target important chord tones:

  • E for the dominant 3rd
  • Bb for the b7
  • Gb for the b5
  • A for the natural 13

Then use the altered notes as tension:

  • Db wants to resolve to C or E
  • Eb wants to resolve to E
  • Gb wants to resolve to F or E, depending on the chord

A strong phrase idea:

Eb - E - Gb - A - Bb - C

This gives you the #9, 3, b5, 13, b7, and root.

Practice Resolving It

Because this mode has dominant energy, practice resolving it to F.

Try:

C Superlocrian ♮6 -> F minor

or:

C Superlocrian ♮6 -> F major

The C7 altered sound naturally wants to pull toward some kind of F chord.

That makes the mode useful for both minor and major resolutions.

Try This Mode in SLModes

Want to explore C Superlocrian ♮6 more deeply?

Try it in SLModes.

SLModes helps you experiment with:

  • Modal fretboard shapes
  • Chords generated from the mode
  • Modal modulation ideas
  • Guitar-friendly scale layouts
  • Negative harmony transformations
  • Unusual synthetic modes and altered dominant sounds

Use it to hear how C Superlocrian ♮6 behaves over chords, vamps, and modulations, then take those sounds straight to your guitar, DAW, or next progressive metal riff.