Altered Scale 7Th Mode of Melodic Minor Ascending

Altered Scale 7th Mode of Melodic Minor Ascending

The Altered Scale contains the following degrees:

1, b2, b3, 3, b5, b6, b7

It can be played over a 7b5 chord. In the key of C you would play a C7b5 chord and then sing or improvise with a C Altered scale. You also find this scale appearing in other musical situations. A common example is when you have the chord progression:

| C∆7 / / / | / / / / | Gb9 / / / | / / / / |

If the above progression is moving quickly enough, your ear will tend to hear the Gb9 in the key of C Major, not in the key of Gb. Since you want to always think the way you hear you would play a C major scale for the C∆7, and a C Altered scale during the time that the Gb9 is sounding. The following pages take this relation- ship through all 12 keys Cycle 5. Simple half note melodies are given which should be sung and played. When singing you can use either solfeggio or any sound to represent each note. The accompanying audio files will help you hear each progression. Remember, always use your ear to decide which scale to play! It is of course possible to modulate on every chord in this progression if the tempo is slow enough. As the tempo acceler- ates, the ear tends to hear all chords in one key center. I’ve recorded this progression at a speed wherein many students will remain in one key center, but you must ultimately decide how you are hearing each chord. For example you could possibly modulate on the bV9 chord. If you find yourself doing this, then substitute an Gb Lydian b7. The notes of that scale would be:

Gb, Ab, Bb, C, Db, Eb, E

Again, in the following exercises you are striving to use your ear to decide what key you are in so you can sing or play the notes in the appropriate key. You might find these relationships change as you play over the progression for a longer period of time. Always check in with your ear to see exactly how you are hearing each chord. Usually students find that over time they hear this progression in just one key center. This is caused by the tempo at which I’ve played the chord progressions and the length of time I’ve played each chord. In the final analysis though, “you” must decide how you are hearing each chord.

79 Key of C

C∆7 Gb9

80 Key of F

F∆7 B9