Altered scale
The altered scale, or altered scale, is a diatonic scale used primarily in jazz . It is an improvisation scale that contains a lot of altered tones compared to the usual major and minor scales and modes .
construction
It is formed by starting from the major scale and lowering all tones except the root by a semitone . It can therefore be noted as 1, ♭ 2, ♭ 3, ♭ 4, ♭ 5, ♭ 6, ♭ 7 (or confused enharmonically as 1, ♭ 2, ♭ 3, 3, ♭ 5, ♭ 6, ♭ 7 or 1 , ♭ 2, # 2, 3, # 4, ♭ 6, ♭ 7).
Example 1:
| Output scale: | c | d | e | f | G | a | H | c | (C major) |
|---|---|---|---|---|---|---|---|---|---|
| Altered scale: | c | of | it | fes | total | as | b | c | (Altered scale in C) |
Another method of constructing this scale is to raise the root of a major scale by a semitone and leave all other tones unchanged. Possible use: chromatic bass line .
Example 2:
| Output scale: | c | d | e | f | G | a | H | c | (C major) |
|---|---|---|---|---|---|---|---|---|---|
| Altered scale: | cis | d | e | f | G | a | H | cis | (Altered scale in Cis) |
From another point of view, the superlocal scale is on the seventh level of melodic minor. The superlocal scale is reinterpreted into the altered scale:
Example 3:
| Output scale: | a | H | c | d | e | f sharp | g sharp | a | (Melodic A minor) |
|---|---|---|---|---|---|---|---|---|---|
| Altered scale: | g sharp | a | H | c | d | e | f sharp | g sharp | (7th level of Melodic A minor) |
The altered scale can also be formed as a locric mode with a diminished fourth . Possible use: The chord Hm7 / b5 is first interpreted as a locrian chord of a major scale (7th level of C major) and not immediately recognized as an elevated 7th level of a minor scale (7th level of Melodic A minor).
Example 4:
| Output scale: | H | c | d | e | f | G | a | H | (h-Locrian) |
|---|---|---|---|---|---|---|---|---|---|
| Altered scale: | H | c | d | it | f | G | a | H | (Locrian 11 ♭) |
properties
The altered scale is a special case among all heptatonic scales due to the following properties :
- It has both the minor third and the major third (enharmonic reinterpretation of the diminished fourth), so no tone gender can be assigned to it. In practice, however, it is associated with dominant 7th chords . This in turn means that the major third is also rated as such. The minor third, on the other hand, is interpreted as an excessive ninth (# 9) in this context .
- It has neither a perfect fourth nor a perfect fifth to the root.
- The tone supply is the same as the Mixolydian # 11 or Lydian b7 scale (Mixolydian with a raised fourth or Lydian with a lower seventh), based on the tritone of the fundamental of the altered scale. Thus, c-altered (enharmonically exchanged) has the same tone stock as fis-mixolydian # 11. See also: Tritone substitution .
- Further relationships exist with melodic minor (built on the small second above the root) and Lydian augmented ( Lydian with a raised fifth), built up on the major third of the altered scale. C-altered equals F sharp Mixolydian # 11, F sharp Lydian b7 equals D flat minor melodic, equals E Lydian augmented.
Audio sample
