The altered scale, a seven-note musical scale, is derived from the melodic minor scale and is characterized by a flatted second, augmented fourth, flatted sixth, and flatted seventh relative to the major scale. Its structure creates a highly dissonant sound often used in jazz and other improvisational music. For example, when encountering a dominant 7th chord in C (C7), the altered scale built from C (C, Db, Eb, E, Gb, Ab, Bb) can be employed to add tension and complexity.
Its significance arises from its ability to provide a concentrated source of altered tones over dominant chords, thus injecting color and intrigue into musical passages. Historically, its systematic use became more prominent in post-bop jazz, where musicians sought to expand harmonic vocabulary and create more sophisticated improvisations. The scale’s application allows for a wider array of melodic choices that move beyond the more common and predictable diatonic options.
Understanding the specific chord progressions and harmonic contexts where this scale becomes most effective is crucial. Exploring common situations in which its unique characteristics are best utilized, recognizing its relationship to dominant chords, and considering its application in various musical styles will be examined.
1. Dominant seventh chords
Dominant seventh chords represent a cornerstone in harmonic theory, frequently serving as the ideal harmonic environment for employing the altered scale. Their inherent instability creates a pull towards resolution, a characteristic amplified by the altered scale’s unique properties.
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Function as a Tension Point
Dominant seventh chords, by their very nature, create harmonic tension due to the presence of the tritone interval. The altered scale enhances this tension by introducing additional dissonances via altered tones, magnifying the expectation of resolution. A typical V-I cadence (e.g., G7 to C major) is a prime example; applying the altered scale over the G7 intensifies the drive towards the tonic C.
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Compatibility with Altered Extensions
Many dominant seventh chords already incorporate altered extensions like b9, #9, #11, or b13. The altered scale inherently contains these same alterations, making it a natural fit. The relationship is not coincidental; the scale is often constructed to directly reflect the desired alterations on the dominant chord. Thus, when a G7b9 chord is encountered, the G altered scale provides a readily available melodic source.
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Enhancing Chromaticism
The altered scale provides a palette of chromatic tones that can be used to create interesting melodic lines over dominant chords. This chromaticism avoids predictability and injects a modern sound into compositions. Substituting a G altered scale for a G Mixolydian scale over a G7 chord immediately introduces chromaticism and a more contemporary flavor.
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Voice Leading Considerations
Effective use of the altered scale over dominant chords requires careful consideration of voice leading. Altered tones should resolve smoothly to chord tones in the subsequent chord. For example, the b9 of the altered scale might resolve down a half step, while the #9 could resolve up. Smooth voice leading minimizes harshness and maximizes the harmonic impact of the alterations.
In summary, dominant seventh chords, with their intrinsic tension and capacity for altered extensions, offer a fertile ground for the application of the altered scale. Understanding the connection between these harmonic elements enables musicians to craft compelling melodies and enrich their improvisations, capitalizing on the tension and resolution dynamic inherent in music. The integration demands a calculated approach, ensuring smooth voice leading and purposeful use of the scales unique character.
2. Tension and release
The principle of tension and release forms a fundamental component of musical expression, and its effective manipulation dictates the emotional impact of a composition. The altered scale serves as a potent tool to generate and subsequently resolve harmonic tension, providing a means to heighten musical drama and enhance listener engagement.
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Creating Harmonic Instability
The altered scale, characterized by its dissonant intervals, introduces inherent instability within a harmonic context. The presence of alterations such as b9, #9, and #11 clash with the underlying chord tones, creating a sense of unease and anticipation. This instability primes the listener for resolution, setting the stage for the subsequent release of tension. Applying the altered scale over a dominant chord, such as a G7, significantly amplifies the harmonic tension compared to using a more conventional scale.
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Delaying Resolution
Strategic use of the altered scale allows for the deliberate prolongation of harmonic tension. By sustaining the use of altered tones, the composer or improviser can delay the expected resolution, intensifying the listener’s anticipation. This technique is frequently employed in jazz improvisation, where extended passages featuring the altered scale build suspense before ultimately resolving to the tonic chord. For example, a soloist may prolong the use of an altered scale over a V chord for several measures before finally resolving to the I chord, heightening the impact of the resolution.
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Resolving to Consonance
The resolution of tension generated by the altered scale occurs when the dissonant tones resolve to more consonant intervals, typically within the tonic chord. Smooth voice leading is crucial in this process, ensuring that altered tones move logically to stable chord tones. The b9, for instance, often resolves downwards by a half step, while the #9 may resolve upwards. This carefully managed transition from dissonance to consonance provides a sense of closure and harmonic satisfaction. The effectiveness of this resolution hinges on the contrast between the preceding tension and the subsequent stability.
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Emotional Impact
The manipulation of tension and release through the use of the altered scale contributes significantly to the overall emotional impact of a musical piece. By creating and resolving harmonic instability, composers and performers can evoke a wide range of emotions, from anxiety and anticipation to relief and satisfaction. The altered scale serves as a tool to amplify these emotional responses, adding depth and complexity to the musical experience. Skilled use of the scale ensures that tension is purposefully built and effectively released, enhancing the overall artistic expression.
The nuanced application of the altered scale, therefore, is inextricably linked to the strategic manipulation of tension and release. Understanding how to generate, sustain, and resolve harmonic instability using this scale is essential for creating compelling and emotionally resonant music. The resulting interplay between dissonance and consonance forms a core element of musical expression, impacting the listener’s experience and shaping the overall artistic impact.
3. Leading to tonic
The concept of “leading to tonic” represents a fundamental aspect of tonal music, influencing decisions regarding the appropriate application of the altered scale. The altered scale, with its inherent dissonance, creates a strong sense of harmonic tension that typically requires resolution to a more stable chord, often the tonic. Understanding this dynamic is essential for utilizing the altered scale effectively and musically.
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Dominant Function and Resolution
The altered scale is most commonly employed over dominant chords, which inherently possess a leading function towards the tonic. The dominant chord’s structure creates a strong pull towards resolution, and the altered scale intensifies this pull. For instance, in a progression from G7 to C major, the G7 chord functions as the dominant, and playing the G altered scale over it heightens the anticipation for the resolution to C major. The altered scale’s dissonances resolve to the more consonant tones of the tonic chord, providing a sense of harmonic closure.
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Creating Anticipation
The altered scale, due to its unique intervallic structure, inherently sets up an expectation for the listener, creating a desire for the harmonic resolution to come. This tension, skillfully manipulated, provides emotional depth and musical impact. For example, if a musician emphasizes the tritone within the altered scale over a dominant chord, it amplifies the tension, making the eventual resolution to the tonic chord more satisfying.
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Voice Leading Considerations
Effective use of the altered scale when leading to tonic requires careful attention to voice leading. The altered tones should resolve smoothly and logically to chord tones in the tonic chord. A common practice is to resolve the b9 down a half step and the #9 up a half step, ensuring a seamless transition between the dominant and tonic chords. Ignoring voice leading can create jarring and unpleasant sounds, undermining the musical effect.
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Delayed Resolution
While the altered scale typically leads to a prompt resolution to the tonic, deliberately delaying this resolution can create a powerful musical effect. Suspending the resolution for a few beats or even a measure increases the tension, making the ultimate resolution all the more impactful. This technique, often used in jazz and blues, adds a layer of complexity and sophistication to the harmonic landscape.
The relationship between “leading to tonic” and the appropriate application of the altered scale hinges on understanding how the scale’s inherent tension functions within a tonal framework. By recognizing the dominant function of chords where the altered scale is typically used, and by employing careful voice leading and strategic timing, musicians can leverage the scale’s unique characteristics to create compelling and emotionally resonant music. The effective use of the altered scale relies on its ability to enhance the pull towards the tonic, thereby enriching the overall musical experience.
4. Chromaticism emphasis
The deliberate emphasis of chromaticism provides a significant justification for employing the altered scale. Chromaticism, the introduction of notes outside the prevailing key, enriches harmonic and melodic textures. The altered scale, by its very nature, is a highly chromatic collection of pitches, inherently containing intervals foreign to the diatonic scale. Its utilization allows for an immediate injection of chromaticism into a musical passage, offering composers and improvisers a ready means to depart from conventional harmonic expectations. A standard dominant 7th chord, for example, when approached with the altered scale, gains a heightened level of chromatic tension, moving beyond a simple diatonic resolution.
The practical application of this understanding manifests in diverse musical contexts. In jazz improvisation, a soloist may employ the altered scale over a dominant chord to create “outside” sounds, adding unexpected color and complexity to their line. Composers, similarly, can use the scale to craft chord voicings and melodies that deliberately emphasize chromatic movement, generating a sense of harmonic ambiguity or heightened emotional intensity. A notable example is its frequent use in film scores to underscore moments of suspense or unease. The choice to employ the altered scale, therefore, is often a conscious decision to amplify the role of chromaticism within a musical statement.
In summary, the emphasis on chromaticism represents a key determinant in the selection and application of the altered scale. Its chromatic character makes it a powerful tool for infusing musical textures with harmonic and melodic color, creating tension, and departing from diatonic norms. Recognizing this connection equips musicians with a deeper understanding of the scale’s potential and allows for its more informed and effective utilization. Challenges may arise in ensuring the chromaticism integrates smoothly within the overall musical fabric, requiring careful consideration of voice leading and harmonic context. However, the potential rewards in terms of expressive depth and harmonic interest justify the effort.
5. Outside playing
“Outside playing,” in the context of music, refers to the practice of improvising or composing using notes and harmonies that lie outside the diatonic key of a given piece. This technique deliberately introduces dissonance and harmonic tension, creating a sense of departure from the established tonal center. The altered scale, with its inherent chromaticism and altered intervals, provides a crucial tool for executing this concept effectively. The scale’s unique structure allows a musician to generate melodic lines that clash with the underlying harmony, producing the desired “outside” sound. Therefore, the desire to engage in outside playing often necessitates the use of the altered scale.
The connection between the two is direct: the altered scale offers a readily available collection of notes that, when employed over a dominant chord or other harmonic structure, produce the characteristic sound of outside playing. For example, a jazz musician might use the altered scale over a V7 chord in a II-V-I progression to create a moment of tension and surprise before resolving back to the tonic. The scale’s altered tones, such as the b9, #9, and #11, contribute to the sense of harmonic friction and dissonance. The effectiveness of outside playing with the altered scale relies heavily on context and resolution. Overuse can dilute the impact, while inappropriate resolution can sound disjointed. A skilled musician carefully navigates these challenges to achieve a deliberate and controlled effect.
In summary, the altered scale serves as a foundational element in the practice of outside playing. Its capacity to generate dissonance and harmonic tension makes it a valuable resource for musicians seeking to push the boundaries of traditional harmony. Understanding this connection allows for a more informed and purposeful application of both the scale and the technique, contributing to a richer and more expressive musical vocabulary. The judicious use of the altered scale in outside playing can elevate improvisations and compositions, adding depth, complexity, and emotional intensity.
6. Altered extensions
Altered extensions on dominant chords, such as b9, #9, #11, and b13, directly inform decisions regarding the utilization of the altered scale. These extensions create specific harmonic colors and tensions that the altered scale is designed to address, making the presence of altered extensions a primary indicator for its potential application.
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Identifying Altered Extensions
The first step in connecting altered extensions to the altered scale lies in identifying the specific alterations present in the chord. If a dominant 7th chord contains a b9, #9, #11, or b13, the altered scale becomes a viable option for melodic improvisation or composition. For example, a G7#9 chord suggests the use of the G altered scale, as the #9 is inherent to its structure. Accurate identification of these extensions is crucial for selecting the appropriate scale and creating coherent musical phrases.
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Scale-Chord Compatibility
The altered scale’s intervallic structure mirrors the common altered extensions found on dominant chords. The scale inherently contains the b9, #9, and #11, making it a natural fit for chords incorporating these alterations. This compatibility ensures that the melodic lines generated from the altered scale will resonate with the harmonic character of the underlying chord. Choosing the altered scale over a G7#9 chord, instead of a Mixolydian scale, ensures that the melody and harmony align, emphasizing the intended altered sound.
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Creating Tension and Release
Altered extensions inherently increase harmonic tension, and the altered scale amplifies this effect. The scale’s dissonant intervals create a sense of instability that begs for resolution. Applying the altered scale over a dominant chord with altered extensions heightens the listener’s expectation of resolution to the tonic chord. A musician might sustain the altered scale over a G7b9 chord for several beats, further intensifying the tension before resolving to a C major chord, thereby maximizing the impact of the harmonic release.
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Voice Leading Considerations
When employing the altered scale over chords with altered extensions, careful attention must be paid to voice leading. The altered tones should resolve smoothly to stable chord tones in the subsequent chord. For instance, the b9 of the altered scale typically resolves down a half step, while the #9 may resolve up a half step. Smooth voice leading minimizes harshness and ensures that the altered tones contribute to a coherent and musical sound. Incorrect voice leading can result in disjointed and unsatisfying resolutions.
In summary, the presence of altered extensions on dominant chords serves as a clear indication for considering the altered scale. The scale’s inherent compatibility with these extensions, its ability to amplify harmonic tension, and the opportunities for compelling voice leading make it a valuable tool in situations where these altered sounds are desired. Careful consideration of the specific extensions and their relationship to the altered scale allows for the creation of musical phrases that are both expressive and harmonically coherent.
7. Resolving dissonance
The strategic application of the altered scale is intrinsically linked to the effective resolution of dissonance. The altered scale, by its very nature, is a highly dissonant collection of pitches. The presence of intervals such as the flatted second, augmented fourth, and flatted sixth creates tension that necessitates resolution to a more stable harmonic environment. The impetus to resolve this dissonance, therefore, becomes a primary driver in determining when the altered scale is appropriately deployed.
The altered scale is commonly employed over dominant chords, which themselves possess inherent instability and a tendency to resolve to the tonic. By applying the altered scale to a dominant chord, a composer or improviser amplifies the existing tension, setting up a heightened expectation for resolution. In a typical V-I progression, utilizing the altered scale over the V chord intensifies the pull towards the tonic, making the eventual resolution more impactful. The success of this approach hinges on the skillful manipulation of voice leading, ensuring that the dissonant tones of the altered scale resolve smoothly to consonant tones within the tonic chord. A common practice is to resolve the b9 of the altered scale down a half step and the #9 up a half step, facilitating a seamless transition to the subsequent chord.
The effectiveness of integrating the altered scale relies on understanding its inherent tendency to create tension, and then expertly navigating the subsequent release. Therefore, recognizing the need for resolution, understanding the principles of voice leading, and considering the harmonic context are crucial in determining when to play this scale. Failing to address the dissonance created by the altered scale can result in a jarring and unsatisfying musical experience. However, the appropriate use of the altered scale, leading to a compelling resolution, enriches the musical landscape and enhances the emotional impact of the composition.
8. Jazz improvisation
Jazz improvisation, characterized by its spontaneity and harmonic complexity, frequently leverages the altered scale to navigate chord changes and create distinctive melodic lines. Understanding the specific contexts within jazz improvisation that warrant its application is essential for musicians aiming to incorporate this scale effectively.
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Dominant Chord Substitution
In jazz, dominant chords often undergo substitution to add harmonic interest. The altered scale finds a natural home in this context. When a dominant chord is altered or substituted (e.g., a tritone substitution), the altered scale provides a framework for improvising over the new harmonic structure. For example, substituting a Db7 for a G7 provides a chance to use the Db altered scale, creating a dissonant sound that resolves satisfyingly to C major.
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Creating Tension and Release
Jazz improvisation thrives on the interplay between tension and release. The altered scale excels at generating harmonic tension due to its dissonant intervals. By strategically employing the scale over dominant chords or during transitional passages, improvisers can build anticipation. The subsequent resolution to a more consonant chord, such as the tonic, provides a satisfying release. Prolonged use of the altered scale over a dominant chord before resolving emphasizes the harmonic tension.
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“Outside” Playing Techniques
Jazz improvisers often explore “outside” playing, deliberately deviating from the diatonic harmony to create moments of surprise. The altered scale provides a ready-made vocabulary for this technique. Applying the altered scale over a static chord or during a brief passage allows the improviser to introduce unexpected chromaticism and create a momentary disruption of the established harmonic context. However, skilled improvisers must resolve the “outside” passage back into the main harmonic framework effectively.
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Developing Melodic Ideas
The altered scale can serve as a source of melodic ideas beyond mere chord-scale relationships. Skilled improvisers develop motifs and phrases derived from the scale’s characteristic intervals. These motifs can then be adapted and transposed across different chord changes, providing a cohesive element within the improvisation. Recognizing the characteristic intervals within the altered scale allows for the creation of memorable melodic phrases.
The connection between jazz improvisation and the appropriate application of the altered scale lies in its capacity to enhance harmonic color, build tension, and enable “outside” playing techniques. Understanding the specific contexts within jazz where these elements are desired allows musicians to integrate the altered scale effectively, contributing to a more sophisticated and expressive improvisational vocabulary. The judicious use, rather than overuse, of the scale ensures its impact is maximized.
Frequently Asked Questions
The following section addresses common inquiries regarding the appropriate and effective use of the altered scale in musical contexts.
Question 1: In what specific harmonic situations is the altered scale most appropriate?
The altered scale is typically most effective when applied over dominant seventh chords, particularly those containing altered extensions such as b9, #9, or #11. Its use enhances tension and provides opportunities for chromaticism.
Question 2: What are the potential pitfalls of overusing the altered scale?
Overuse of the altered scale can lead to a predictable and monotonous sound, diminishing its intended impact. Strategic and judicious application is crucial for maintaining musical interest.
Question 3: How does voice leading influence the effectiveness of the altered scale?
Effective voice leading is paramount. Altered tones should resolve smoothly to stable chord tones in the subsequent chord to avoid jarring or unpleasant sounds. Careful consideration of voice leading enhances the musicality of the scale’s application.
Question 4: Can the altered scale be used in musical genres other than jazz?
While primarily associated with jazz, the altered scale can be employed in other genres where chromaticism and harmonic tension are desired, such as blues, fusion, and even certain classical compositions.
Question 5: What is the relationship between the altered scale and “outside” playing?
The altered scale provides a valuable tool for “outside” playing, enabling musicians to create melodic lines that deviate from the diatonic key. This technique introduces dissonance and harmonic tension, generating a sense of departure from the established tonal center.
Question 6: How does one determine the appropriate altered scale to use over a given chord?
The altered scale is typically built off the root of the dominant 7th chord in question. One should analyze the chord’s altered extensions (b9, #9, #11, etc.) and choose the altered scale that aligns with those alterations.
The key takeaway emphasizes a balanced approach. The altered scale is a powerful tool, but its effectiveness hinges on strategic implementation, mindful voice leading, and an understanding of its inherent dissonance.
The subsequent discussion will explore exercises for mastering the altered scale.
Tips for Effective Altered Scale Utilization
The subsequent advice aims to enhance the strategic and musical application of the altered scale, focusing on key considerations for its effective employment.
Tip 1: Analyze the Harmonic Context: Before employing the altered scale, thoroughly examine the chord progression and identify any dominant chords with altered extensions. These chords provide the most suitable environment for its use. For instance, a V7b9 chord strongly suggests the altered scale built from the root of the dominant.
Tip 2: Prioritize Voice Leading: Pay meticulous attention to voice leading when using the altered scale. Ensure smooth transitions between altered tones and stable chord tones in the resolving chord. Chromatic resolutions (half-step movements) are generally preferred for altered tones.
Tip 3: Emphasize Resolution: The altered scale creates significant tension. Always plan for a clear and effective resolution to a more consonant chord, typically the tonic. Delaying the resolution strategically can amplify the impact, but the resolution itself should be well-defined.
Tip 4: Start with Simple Applications: Begin by practicing the altered scale over basic V-I chord progressions. This allows for the development of familiarity with the scale’s sound and its relationship to the resolving chord before attempting more complex applications.
Tip 5: Integrate into Improvisation Gradually: Avoid overwhelming improvisations with constant altered scale usage. Introduce it sparingly, focusing on specific moments to create contrast and highlight harmonic tension. Subtlety often proves more effective than overuse.
Tip 6: Listen to Examples: Study the improvisations and compositions of musicians who effectively employ the altered scale. Analyzing their techniques can provide valuable insights into its application and nuances. Transcribing solos is an excellent method for this study.
Tip 7: Practice in All Keys: Ensure proficiency with the altered scale in all twelve keys. This develops both technical facility and aural awareness, enabling its application in any musical situation.
Adherence to these guidelines facilitates a more nuanced and controlled application of the altered scale, resulting in musically compelling and harmonically rich expressions.
The culmination of these tips will ensure the proper use of the altered scale in the music context you’re trying to achieve.
When to Play Altered Scale
The preceding discussion has illuminated the circumstances under which the altered scale finds its most compelling application. The presence of dominant seventh chords, particularly those with altered extensions, the strategic manipulation of tension and release, and the deliberate emphasis of chromaticism represent key indicators for its effective utilization. The decision of when to play altered scale requires a nuanced understanding of harmonic context, careful attention to voice leading, and a clear vision for the desired musical outcome.
Mastering the art of when to play altered scale demands continuous study and mindful practice. Its judicious application, guided by the principles outlined herein, will unlock new avenues for musical expression and elevate the quality of both improvisation and composition. Musicians are encouraged to explore these concepts further, refining their understanding and developing their individual voice within the realm of altered harmony.
