Altered Scales Choices

Altered Scales

Mixolydian +4

Lydian Dominant

C Mixolydiaan +4

Mixolydian -2 -6

C Mixolydiaan -2 -6

Additional Mixolydian Scale Alterations

b9   #9   #11/b5   #5/b13   

Altered Scale Choices

Alterations of various scale degrees affect resolution. This resolution wants to resolve major or minor. For major resolutions the thirteenth scale degree is typically not altered. For minor resolutions the thirteenth scale degree can be lowered (b13).

b9   #9   #11/b5   #5/b13   

Other scale choices can provide altered notes as well. Here are a few common choices musicians have used to collect these alterations.

Keep in mind that the color tones of a chord are the third and seventh of the chord. In the key of C the G Mixolydian scale is used, the fifth mode of the C major scale.

In the key of C Major the G Mixolydian (Dominant) scale is used. The Mixolydian scale is the fifth mode of the C major scale.

Example C7: C E G Bb (1 3 5 b7)

Locrian on the Root of Chord • Mix -2 +2 -5 +5

The Locrian scale starting in the root of a seventh chord contains the seventh color tone but not the third. The C Locrian is the seventh mode of the Gb Ionian/Major scale.

Locrian on the 5th of Chord • Mix -2 +2 +5

The Locrian scale starting in the fifth of a seventh chord contains the seventh color tone by not the third. The G Locrian is the seventh mode of the Ab Ionian/Major scale.

Tonic Minor 1/2 Step Up From Root of Chord Mix -2 +2 -5 +5

Amongst jazz players, the most common approach to collecting all the possible alterations of a dominant chord. Sometimes referred to as the “Jazz” minor scale.

The scale contains both the third and seventh color tones.

Tonic Minor on the 5th of Chord • Mix +4 from Root of Target Chord

Amongst jazz players, the most common approach to collecting all the possible alterations of a dominant chord. Sometimes referred to as the “Jazz” minor scale.

The scale contains both the third and seventh color tones.

Bebop Scales

Dominant Seventh, Minor Seventh, Major Seventh - A Term coined by David Baker. This is just a traditional scale with a chromatic passing tone added to have the chord tones fall on every down beat. Useful when starting on the beat and on a chord tone then playing straight up the scale for one octave from the starting point.

This scale is a synthetic scale with and added chromatic passing tone and not really a new scale. Traditional diatonic scale theory dictates that a scale can not have two scale degrees using the same letter, whether the letter is altered or not.