major Locrian; G75 (add 9, 11, and 13) (Aeolian mode with major third and diminished fifth) (whole-tone scale plus natural fourth) altered dominant major 2nd; Am75 (add 9, 11, and 13) (Locrian mode with major second and diminished fourth) (whole-tone scale plus minor third) altered dominant diminished 3rd; B75 (add 9, 9, and 13) (Ionian mode with minor third and augmented unison) (whole-tone scale plus 9) The major Locrian scale has only two perfect fifths, but it has in some sense a complete cycle of thirds if one is willing to count a diminished third as a third: four major thirds, two minor thirds and a diminished third making up two octaves. In 12-equal temperament, the diminished third is enharmonically equivalent to a major second, but in other meantone systems it is wider and more nearly like a third. The major Locrian in 12 equal temperament Howard Hanson in his Harmonic Materials of Modern Music devotes several pages to the major Locrian, or more precisely to its transpositional set class, a concept Hanson pioneered. He names this transpositional class the seven-tone impure major second scale, and notes that the various modes of the major Locrian can all be defined as the whole tone scale with one additional note, and where that note occurs does not affect the transpositional class. He also notes that the scale has the property that every three-note chord possible in the twelve tone chromatic scale already appears in the major Locrian. Examples are given of the use of this scale by Claude Debussy in his opera Pelléas et Mélisande and Alban Berg in his song "Nacht". References Further reading Hewitt, Michael (2013). Musical Scales of the World. The Note Tree. . d'Erlanger, Rodolfe (1938). La Musique Arab, vol. 3, . Librarie Orientaliste Paul Geunther. Persichetti, Vincent (1961). Twentieth-Century Harmony, W. W. Norton and co. /. External links Major Locrian Scale - Analysis Heptatonic scales