In jazz, the altered scale, altered dominant scale, or Super Locrian scale (Locrian ♭4 scale) is a seven-notescale that is a dominant scale where all non-essential tones have been altered. This means that it comprises the three irreducibly essential tones that define a dominant seventh chord, which are root, major third, and minor seventh and that all other chord tones have been altered. These are:
the fifth is altered to a ♭5 and a ♯5
the ninth is altered to a ♭9 and a ♯9
the eleventh is altered to a ♯11 (equivalent to a ♭5)
the thirteenth is altered to a ♭13 (equivalent to a ♯5)
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 enharmonically 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.
This is written below in musical notation with the essential chord tones coloured black and the non-essential altered chord tones coloured red.
The altered scale is made by the sequence:
Half, Whole, Half, Whole, Whole, Whole, Whole
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, "C7alt" supplants "C7♯5♭9♯9♯11", "C7−5+5−9+9", "Caug7−9+9+11", etc.
The C altered scale is also enharmonically equivalent to the C Locrian mode with F changed to F♭. For this reason, the altered scale is sometimes called the Locrian ♭ 4 scale.[1]
The super-Locrian scale (enharmonically identical to the altered scale) is obtained by flattening the fourth note of the diatonic Locrian mode:
Another way to obtain the altered scale is by raising the tonic of a major scale by a half step. For example taking the tonic of the B-major scale, and raising the tonic by a half step produces the scale C–C♯–D♯–E–F♯–G♯–A♯–C.
The altered scale can also be the major scale with all of the notes except the tonic being flattened.
Bahha, Nor Eddine, and Robert Rawlins. 2005. Jazzology: The Encyclopedia of Jazz Theory for All Musicians, edited by Barrett Tagliarino. Milwaukee: Hal Leonard. ISBN978-0-634-08678-6.
Haerle, Dan. 1975. Scales for Jazz Improvisation: A Practice Method for All Instruments. Lebanon, Indiana: Studio P/R; Miami: Warner Bros.; Hialeah : Columbia Pictures Publications. ISBN978-0-89898-705-8.
Service, Saxophone. 1993. "The Altered Scale In Jazz Improvisation". Saxophone Journal 18, no. 4 (July–August):[full citation needed]
Further readingedit
Callender, Clifton. 1998. "Voice-leading parsimony in the music of Alexander Scriabin", Journal of Music Theory 42, no. 2 ("Neo-Riemannian Theory", Autumn): 219–233.
Tymoczko, Dmitri. 1997. "The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz." Integral 11:135–79.
Tymoczko, Dmitri. 2004. "Scale Networks in Debussy." Journal of Music Theory 48, no. 2 (Autumn): 215–292.
External linksedit
"The Altered Scale for Jazz Guitar", jazzguitar.be
January 01, 1970
altered, scale, jazz, altered, scale, altered, dominant, scale, super, locrian, scale, locrian, scale, seven, note, scale, that, dominant, scale, where, essential, tones, have, been, altered, this, means, that, comprises, three, irreducibly, essential, tones, . In jazz the altered scale altered dominant scale or Super Locrian scale Locrian 4 scale is a seven note scale that is a dominant scale where all non essential tones have been altered This means that it comprises the three irreducibly essential tones that define a dominant seventh chord which are root major third and minor seventh and that all other chord tones have been altered These are the fifth is altered to a 5 and a 5 the ninth is altered to a 9 and a 9 the eleventh is altered to a 11 equivalent to a 5 the thirteenth is altered to a 13 equivalent to a 5 Altered scaleModesI II III IV V VI VIIComponent pitchesC D D E F A B QualitiesNumber of pitch classes7Forte number7 34Complement5 34 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 enharmonically 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 This is written below in musical notation with the essential chord tones coloured black and the non essential altered chord tones coloured red source Audio playback is not supported in your browser You can download the audio file The altered scale is made by the sequence Half Whole Half Whole Whole Whole Whole 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 C7alt supplants C7 5 9 9 11 C7 5 5 9 9 Caug7 9 9 11 etc This scale has existed for a long time as the 7th mode of the ascending melodic minor scale Contents 1 Enharmonic spellings and alternate names 2 See also 3 References 4 Further reading 5 External linksEnharmonic spellings and alternate names editThe C altered scale is also enharmonically equivalent to the C Locrian mode with F changed to F For this reason the altered scale is sometimes called the Locrian 4 scale 1 It is also enharmonically the seventh mode of the ascending melodic minor scale The altered scale is also known as the Pomeroy scale after Herb Pomeroy 2 3 the Ravel scale after Maurice Ravel and the diminished whole tone scale due to its resemblance to the lower part of the diminished scale and the upper part of the whole tone scale 4 The super Locrian scale enharmonically identical to the altered scale is obtained by flattening the fourth note of the diatonic Locrian mode nbsp source Audio playback is not supported in your browser You can download the audio file Another way to obtain the altered scale is by raising the tonic of a major scale by a half step For example taking the tonic of the B major scale and raising the tonic by a half step produces the scale C C D E F G A C nbsp The altered scale can also be the major scale with all of the notes except the tonic being flattened See also editAltered chord Jazz scaleReferences edit Service 1993 28 Bahha and Rawlins 2005 33 Miller 1996 35 Haerle 1975 15 Sources Bahha Nor Eddine and Robert Rawlins 2005 Jazzology The Encyclopedia of Jazz Theory for All Musicians edited by Barrett Tagliarino Milwaukee Hal Leonard ISBN 978 0 634 08678 6 Haerle Dan 1975 Scales for Jazz Improvisation A Practice Method for All Instruments Lebanon Indiana Studio P R Miami Warner Bros Hialeah Columbia Pictures Publications ISBN 978 0 89898 705 8 Miller Ron 1996 Modal Jazz Composition amp Harmony volume 1 Rottenburg Advance Music Service Saxophone 1993 The Altered Scale In Jazz Improvisation Saxophone Journal 18 no 4 July August full citation needed Further reading editCallender Clifton 1998 Voice leading parsimony in the music of Alexander Scriabin Journal of Music Theory 42 no 2 Neo Riemannian Theory Autumn 219 233 Tymoczko Dmitri 1997 The Consecutive Semitone Constraint on Scalar Structure A Link Between Impressionism and Jazz Integral 11 135 79 Tymoczko Dmitri 2004 Scale Networks in Debussy Journal of Music Theory 48 no 2 Autumn 215 292 External links edit The Altered Scale for Jazz Guitar jazzguitar be Retrieved from https en wikipedia org w index php title Altered scale amp oldid 1194054204, wikipedia, wiki, book, books, library,
