Choosing Altered Scales for Dominant 7th

by Pete
(Erie , Pa USA)

Hello Marc from Erie, Pa.
Thanks for sharing your knowledge!

I’ve been working on altered 7th scales. My question is while you are improvising are you thinking "Okay ,I’m going to flat the 9 and sharp the 11 on this next 7th chord", or is it just from a non-thinking place that comes from years of practice? Or both?

Thanks.Pete

___________

Hello Pete,

To make a long story short: a bit of both!
(not much of a surprise isn’t?)

But, while actually improvising, if I’m really “in the moment” and listening, there’s no real thinking going on. If I’m thinking about note choices and other musical parameters in a solo, it’s usually the “beginning of the end” so to speak …

How To

So let’s say, you want to expand that area of you playing, here’s what I suggest:

1. Pick ONE altered dominant sound/scale and get familiar with it.It takes place in your ears mostly and in your fingers secondly.
   
   
2. Understand the implications of this sound/scale very deeply.
   
   For example: know the underlying theory, look for instances of this sound in tunes or compose with it, know the common resolutions, transcribe lines that use that sound, etc.
   
   
3. Lastly, you have to let go and don’t try to apply this knowledge right away. It will show up by itself when it’s totally “ripe” in your ears. “Not trying” can often lead to beautiful music…
   
   
   

Working on new musical materials in this way requires a tremendous amount of discipline. You have to be patient and trust that the work you put on the instrument will eventually serve a greater purpose.

Scale Choices

On the theory side, here’s in what order I suggest working on the sounds/scales:

Start with Basic Mixolydian (G7)
1 2 3 4 5 6 b7


Changing one note only:

• Mixo b13
  (V of melodic minor scale)
  
  
• Mixo #11
  (IV of melodic minor scale)
  
  
• Mixo b13 b9
  (V of harmonic minor scale)
  
  
  
• Mixo b9
  (V of harmonic major scale)
  This is a weird one because it comes from an uncommon place.
  

Then the other “hard ones” …

• Altered Scale
  (VII of melodic minor)
  Requires work and patience; very dissonant.
  
  
• Diminished Scale
  (Symmetrical, 8-note scale)
  It’s the “classic” b9 sound for bebop.
  Many implications check it out!
  
  
• Whole-Tone Scale
  (Symmetrical, 6-note scale)
  This is the dominant 7th #11 #5 sound…
  

Working step-by-step will ensure that you really hear the difference between the scales/sounds. You will start to identify it BY EAR in tunes and in other people’s playing.

I always like to have a point a reference (shown above), instead of trying to blindly alter the 9th, of the 5th, or whatever…


I hope is makes sense and helps you incorporate those sounds into your playing.


Practice Well,
Marc-A