279:
376:
411:
304:
The abbreviation "alt" (for "altered") used in chord symbols enhances readability by reducing the number of characters otherwise needed to define the chord and avoids the confusion of multiple equivalent complex names. For example, "C" supplants "C", "C", "Caug", etc.
370:
The super-Locrian scale (enharmonically identical to the altered scale) is obtained by flattening the fourth note of the diatonic
Locrian mode. For example, flattening the fourth note of the C Locrian scale gives us the C altered scale:
440:
Because it contains the essential notes of a dominant seventh chord, it can be used to create melodies over the dominant chord in a jazz context. The added dissonance of the altered notes creates extra tension on the dominant.
270:
identical and have multiple potential spellings. The natural forms of the non-essential tones are not present in the scale. This means it lacks a major ninth, a perfect eleventh, a perfect fifth, and a major thirteenth.
393:
The altered scale can also be achieved by raising the tonic of a major scale by a half step. For instance, raising the tonic of the C major scale by a half step (here spelled as an augmented unison) produces the scale
266:
The altered forms of some of the non-essential tones coincide (augmented eleventh with diminished fifth and augmented fifth with minor thirteenth) meaning those scale degrees are
845:
811:
983:
807:
274:
This is written below in musical notation with the essential chord tones coloured black and the non-essential altered chord tones coloured red.
193:
where all non-essential tones have been altered. This means that it comprises the three irreducibly essential tones that define a
551:
534:
379:
282:
648:
309:
1014:
595:. 1997. "The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz."
410:
375:
278:
1004:
1024:
1019:
546:. Lebanon, Indiana: Studio P/R; Miami: Warner Bros.; Hialeah : Columbia Pictures Publications.
1029:
898:
190:
937:
873:
606:
585:
382:
285:
30:
1009:
932:
894:
884:
194:
46:
38:
978:
973:
965:
904:
50:
597:
620:
8:
879:
641:
583:
Callender, Clifton. 1998. "Voice-leading parsimony in the music of
Alexander Scriabin",
145:
359:, and the diminished whole tone scale due to its resemblance to the lower part of the
720:
547:
530:
869:
861:
780:
775:
765:
364:
183:
89:
76:
198:
832:
755:
730:
725:
715:
697:
592:
420:
with all of the notes except the tonic being flattened. For example, taking the C
360:
34:
955:
947:
927:
919:
889:
795:
674:
665:
634:
42:
998:
841:
822:
785:
687:
450:
356:
186:
107:
851:
837:
770:
760:
657:
426:
major scale and flattening all of the notes except the tonic produces the C
352:
344:
325:
135:
67:
25:
827:
817:
803:
750:
707:
692:
682:
626:
417:
348:
125:
98:
85:
455:
321:
267:
568:
Service, Saxophone. 1993. "The
Altered Scale In Jazz Improvisation".
334:. For this reason, the altered scale is sometimes called the Locrian
544:
Scales for Jazz
Improvisation: A Practice Method for All Instruments
197:, which are root, major third, and minor seventh and that all other
63:
479:
308:
This scale has existed for a long time as the 7th mode of the
351:. The altered scale is also known as the Pomeroy scale after
527:
Jazzology: The
Encyclopedia of Jazz Theory for All Musicians
315:
157:
381:
Audio playback is not supported in your browser. You can
284:
Audio playback is not supported in your browser. You can
529:, edited by Barrett Tagliarino. Milwaukee: Hal Leonard.
604:
Tymoczko, Dmitri. 2004. "Scale
Networks in Debussy."
589:
42, no. 2 ("Neo-Riemannian Theory", Autumn): 219–233.
467:
503:
491:
524:
485:
996:
642:
525:Bahha, Nor Eddine, and Robert Rawlins. 2005.
300:Half, Whole, Half, Whole, Whole, Whole, Whole
296:The altered scale is made by the sequence:
656:
649:
635:
316:Enharmonic spellings and alternate names
567:
473:
16:Seventh mode of the melodic minor scale
997:
563:, volume 1. Rottenburg: Advance Music.
558:
541:
509:
497:
343:It is also enharmonically the seventh
630:
561:Modal Jazz Composition & Harmony
621:"The Altered Scale for Jazz Guitar"
13:
577:
416:The altered scale can also be the
14:
1041:
614:
435:
250:the thirteenth is altered to a
1:
461:
349:ascending melodic minor scale
310:ascending melodic minor scale
235:the eleventh is altered to a
199:chord tones have been altered
610:48, no. 2 (Autumn): 215–292.
378:
320:The C altered scale is also
281:
7:
444:
432:altered scale (see above).
10:
1046:
363:and the upper part of the
220:the ninth is altered to a
205:the fifth is altered to a
964:
946:
918:
860:
794:
743:
706:
673:
664:
144:
134:
123:
118:
62:
57:
24:
899:descending melodic major
846:descending melodic minor
572:18, no. 4 (July–August):
355:, the Ravel scale after
874:ascending melodic minor
812:ascending melodic major
607:Journal of Music Theory
586:Journal of Music Theory
383:download the audio file
286:download the audio file
885:Lydian augmented (III)
658:Modes in Western music
486:Bahha and Rawlins 2005
195:dominant seventh chord
166:altered dominant scale
966:Double harmonic scale
938:Phrygian dominant (V)
933:Ukrainian Dorian (IV)
979:Hungarian minor (IV)
905:Half diminished (VI)
895:Aeolian dominant (V)
324:equivalent to the C
256:13 (equivalent to a
241:11 (equivalent to a
1015:Musical terminology
974:Double harmonic (I)
559:Miller, Ron. 1996.
542:Haerle, Dan. 1975.
328:with F changed to F
170:Super Locrian scale
21:
956:Harmonic major (I)
928:Harmonic minor (I)
19:
1005:Heptatonic scales
992:
991:
739:
738:
570:Saxophone Journal
552:978-0-89898-705-8
535:978-0-634-08678-6
387:
290:
154:
153:
58:Component pitches
1037:
1025:Hemitonic scales
1020:Jazz terminology
671:
670:
651:
644:
637:
628:
627:
593:Tymoczko, Dmitri
573:
564:
555:
538:
513:
507:
501:
495:
489:
483:
477:
471:
431:
430:
425:
424:
405:
404:
399:
398:
365:whole tone scale
361:diminished scale
339:
338:
333:
332:
261:
260:
255:
254:
246:
245:
240:
239:
231:
230:
225:
224:
216:
215:
210:
209:
179:
178:
113:
112:
104:
103:
95:
94:
82:
81:
73:
72:
22:
18:
1045:
1044:
1040:
1039:
1038:
1036:
1035:
1034:
1030:Tritonic scales
995:
994:
993:
988:
960:
942:
914:
856:
790:
735:
702:
660:
655:
623:, jazzguitar.be
617:
580:
578:Further reading
516:
508:
504:
496:
492:
484:
480:
472:
468:
464:
447:
438:
428:
427:
422:
421:
412:
402:
401:
396:
395:
389:
388:
386:
336:
335:
330:
329:
318:
292:
291:
289:
258:
257:
252:
251:
243:
242:
237:
236:
228:
227:
222:
221:
213:
212:
207:
206:
176:
175:
110:
109:
101:
100:
92:
91:
79:
78:
70:
69:
17:
12:
11:
5:
1043:
1033:
1032:
1027:
1022:
1017:
1012:
1007:
990:
989:
987:
986:
981:
976:
970:
968:
962:
961:
959:
958:
952:
950:
948:Harmonic major
944:
943:
941:
940:
935:
930:
924:
922:
920:Harmonic minor
916:
915:
913:
912:
907:
902:
892:
887:
882:
880:Dorian ♭2 (II)
877:
870:Jazz minor (I)
866:
864:
858:
857:
855:
854:
849:
835:
833:Mixolydian (V)
830:
825:
823:Phrygian (III)
820:
815:
800:
798:
792:
791:
789:
788:
783:
778:
773:
768:
763:
758:
753:
747:
745:
741:
740:
737:
736:
734:
733:
731:Hypomixolydian
728:
723:
718:
712:
710:
704:
703:
701:
700:
695:
690:
685:
679:
677:
668:
662:
661:
654:
653:
646:
639:
631:
625:
624:
616:
615:External links
613:
612:
611:
602:
590:
579:
576:
575:
574:
565:
556:
539:
515:
514:
502:
490:
478:
465:
463:
460:
459:
458:
453:
446:
443:
437:
434:
414:
413:
400:-D-E-F-G-A-B-C
391:
390:
380:
377:
322:enharmonically
317:
314:
302:
301:
294:
293:
283:
280:
268:enharmonically
264:
263:
248:
233:
218:
191:dominant scale
152:
151:
148:
142:
141:
138:
132:
131:
128:
121:
120:
116:
115:
60:
59:
55:
54:
28:
15:
9:
6:
4:
3:
2:
1042:
1031:
1028:
1026:
1023:
1021:
1018:
1016:
1013:
1011:
1010:Modes (music)
1008:
1006:
1003:
1002:
1000:
985:
982:
980:
977:
975:
972:
971:
969:
967:
963:
957:
954:
953:
951:
949:
945:
939:
936:
934:
931:
929:
926:
925:
923:
921:
917:
911:
910:Altered (VII)
908:
906:
903:
900:
896:
893:
891:
890:Acoustic (IV)
888:
886:
883:
881:
878:
875:
871:
868:
867:
865:
863:
859:
853:
852:Locrian (VII)
850:
847:
843:
842:natural minor
839:
836:
834:
831:
829:
826:
824:
821:
819:
816:
813:
809:
808:natural major
805:
802:
801:
799:
797:
793:
787:
786:Reciting tone
784:
782:
779:
777:
774:
772:
769:
767:
764:
762:
759:
757:
754:
752:
749:
748:
746:
742:
732:
729:
727:
724:
722:
719:
717:
714:
713:
711:
709:
705:
699:
696:
694:
691:
689:
686:
684:
681:
680:
678:
676:
672:
669:
667:
663:
659:
652:
647:
645:
640:
638:
633:
632:
629:
622:
619:
618:
609:
608:
603:
600:
599:
594:
591:
588:
587:
582:
581:
571:
566:
562:
557:
553:
549:
545:
540:
536:
532:
528:
523:
522:
521:
520:
511:
506:
499:
494:
487:
482:
475:
470:
466:
457:
454:
452:
451:Altered chord
449:
448:
442:
433:
419:
409:
408:
407:
384:
374:
373:
372:
368:
366:
362:
358:
357:Maurice Ravel
354:
350:
346:
341:
327:
323:
313:
311:
306:
299:
298:
297:
287:
277:
276:
275:
272:
269:
249:
234:
219:
204:
203:
202:
201:. These are:
200:
196:
192:
188:
185:
181:
171:
167:
163:
162:altered scale
159:
149:
147:
143:
139:
137:
133:
129:
127:
126:pitch classes
122:
117:
114:
105:
96:
87:
83:
74:
65:
61:
56:
52:
48:
44:
40:
36:
32:
29:
27:
23:
20:Altered scale
984:Oriental (V)
909:
838:Aeolian (VI)
721:Hypophrygian
605:
596:
584:
569:
560:
543:
526:
518:
517:
505:
493:
481:
474:Service 1993
469:
439:
436:Common Usage
415:
392:
369:
353:Herb Pomeroy
342:
326:Locrian mode
319:
307:
303:
295:
273:
265:
173:
169:
165:
161:
155:
136:Forte number
828:Lydian (IV)
818:Dorian (II)
776:Hypolocrian
766:Hypoaeolian
510:Haerle 1975
498:Miller 1996
418:major scale
999:Categories
862:Jazz minor
804:Ionian (I)
781:Pentatonic
756:Hypoionian
726:Hypolydian
716:Hypodorian
698:Mixolydian
601:11:135–79.
462:References
456:Jazz scale
189:that is a
184:seven-note
146:Complement
124:Number of
675:Authentic
666:Gregorian
340:4 scale.
119:Qualities
796:Diatonic
688:Phrygian
598:Integral
445:See also
429:♯
423:♯
403:♯
397:♯
337:♭
331:♭
259:♯
253:♭
244:♭
238:♯
229:♯
226:9 and a
223:♭
214:♯
211:5 and a
208:♭
177:♭
174:Locrian
111:♭
102:♭
93:♯
80:♯
71:♭
771:Locrian
761:Aeolian
519:Sources
347:of the
182:) is a
180:4 scale
751:Ionian
708:Plagal
693:Lydian
683:Dorian
550:
533:
160:, the
744:Other
512:, 15.
500:, 35.
488:, 33.
476:, 28.
187:scale
168:, or
53:, VII
26:Modes
844:and
810:and
548:ISBN
531:ISBN
345:mode
158:jazz
150:5-34
140:7-34
156:In
39:III
1001::
406::
367:.
312:.
262:5)
247:5)
164:,
106:,
97:,
88:,
84:,
75:,
66:,
51:VI
49:,
45:,
43:IV
41:,
37:,
35:II
33:,
901:)
897:(
876:)
872:(
848:)
840:(
814:)
806:(
650:e
643:t
636:v
554:.
537:.
394:C
385:.
288:.
232:9
217:5
172:(
130:7
108:B
99:A
90:F
86:E
77:D
68:D
64:C
47:V
31:I
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.