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John McNeil talks about the differences between a chord and a scale and how they work together both in jazz and in music ...
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Finally, let us take a look at the seventh mode of the Minor+Major 7 scale. This is known as the altered scale. It contains every possible alter note you can have on a dominant 7 chord hence the name I suppose. If you do not believe me, check it out.
Here is an altered scale and a regular dominant 7 scale with nothing done to it. Okay, let us look at this. First we have the root, ___ 0037.
Next, where the third and seventh. The third is called harmonically in this altered scale here. If you think about it now, you really cannot change the third or seventh of a dominant because the interval between them called a tri tone is what gives a dominant its basic sound like this.
So, what are you left with? First of all, you got the nine. Now, the nine can be # or flat and we have both of them in the altered scale. See that? Two nines in one scale, what is this word coming through.
Next, we sharp the fourth. Now, we are still in E # as F natural here. Now, we can only sharp it if we flat the fourth we get a third and we do not need another one.
Next, we have the fifth. Now, we need to sharp that because if we flat the fifth, we get a sharp four and we already got that covered. Okay.
Now, look at this unaltered dominant scale. You can see that we have a six leftover. If we sharp it, we had a flat seven and if we flat it, we get a sharp flat.
Well, those are covered, so in the altered scale, we just leave out the six completely. At this point, I think you can see that the altered scale is as altered as you can get.
Now, here is what it sounds like in a solo and to provide a little interest solos played over dominant resolving to Major chords.