1/1/2024 0 Comments Altered scale![]() Over a G7, this would be an Ab minor triad (Ab-Cb-Eb). There is a minor triad starting from the b2 degree. For our examples, let's use G7 as our V7 chord. Once you have developed sufficient awareness of the scale patterns across the neck, it can be useful to notice that there are some patterns imbedded within the scale that are based on simpler, more familiar musical content.įor example, let's look at some triads that are imbedded within the altered scale, and let's examine the tones that result if we superimpose these triads over a V7 chord. In addition to practicing the scales up and down, it is helpful to start in the middle, mix up the order, skip strings, and otherwise throw in variations that will challenge and reinforce your command of the scale. In the video I demonstrated the G altered scale in 5 positions across all 6 strings. Thus, the altered scale is a wonderful choice to use when we want to create some exciting tension-release drama while playing over a V7 chord.Īs with any scale, it is a good idea to practice the scale patterns up and down in every position on the neck. Adding any (or all) of these altered tensions to a dominant 7 chord will exaggerate the tension and make the whole effect more powerful. The remaining tones are b2, #2, b5, and #5, all of which are altered tensions. Tones 1, 3, and b7 are the shell tones of a dominant 7 chord. The altered scale is well suited for this task because it contains all the shell tones of a dominant chord, plus four altered tensions. This can be accomplished by adding altered tensions to the chord. We can make this already-powerful event even more dramatic by increasing the level of tension on the V7 chord. This dominant-tonic resolution, as it's sometimes called, is one of the most central and indispensable properties of tonal music. When a dominant 7 chord resolves up a fourth and that tension gets "released", the effect is a powerful one, and the importance of this event is hard to overstate. Because of the dissonant nature of the tritone interval, dominant 7 chords have an inherently unstable and tense quality to them. The tension that one senses on the V7 chord is caused by the tritone interval that is present between the 3rd and b7th of a dominant 7 chord. I demonstrated this effect in the video by playing a G7 resolving to a C chord. When a V7 chord resolves up a fourth, it creates an effect of "tension and release", with the tension happening on the V7 chord and the release happening on the chord to which it resolves. To better appreciate the utility of this particular set of scale tones over a V7 chord, it would do us well to reflect on the general function of a V7 chord. It should be noted that other enharmonic spellings are sometimes given (for example, you might find "b5" written as "#4", or "#5" as "b6", etc.), but in this lesson we will stick with this version of the formula for the sake of simplicity. ![]() It is derived from the melodic minor scale, being the seventh mode thereof. The altered scale, also known as the superlocrian scale or the diminished whole-tone scale, is an essential part of every Jazz player's musical vocabulary. For this jazz guitar lesson, I chose to focus on a scale that is often used to great effect on V7 chords: the altered scale. One place where additional scale tones can be especially impactful is on a V7 chord. We can begin to make our jazz guitar lines sound more interesting by including additional scale tones. ![]() One reason for this is that the chord-tone-only arpeggios are built of just those notes that make up the underlying chord and nothing more. I noted that, while such chord tone guitar exercises offer great benefit in terms of expanding one's fretboard awareness, they can tend to sound academic and bland. Last time we looked at some ways to expand our awareness over the guitar fretboard while soloing over a Jazz Blues chord progression, using arpeggios as a means of targeting chord tones through the chord changes.
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