The Altered Dominant Scale

A quick way to remember and apply it

G7(9,13)  
Here is a basic dominant chord and its scale (Mixolydian mode)

       
     
() = tones that best define the sound of this chord

 
1 3 5 b7 9 13

The chord tones [1, 3, 5, b7] and available tensions* [9, 13] are in black. 3, b7, 9, and 13 are the notes that best
represent the sound of this chord.

What are available tensions?

*Tensions may also be called extensions or upper-structure notes. An available tension is any note located
one whole step above a chord tone. Notice in the example above that the 11th (same as 4th) scale degree is
NOT included as an available tension. That's because it is a half step above the 3rd (a very important chord tone).

As a general rule, this applies to every chord type (Maj, Min, Dom, Dim, Half Dim, Aug) except dominant chords.

Exception to this rule

Dominant chords not only allow half step tensions, they welcome them. Half-step tensions on dominant chords

 
help increase the drama of a dominant chord's urgency to resolve.


  
G7 G7♭9
C∆7

    
The altered dominant scale (aka, the altered scale) contains all the tensions

    
G7♯9

   
b9 #9 3 #11/b5 b13 b7

But that may look a bit confusing and bloated with accidentals. So here's the trick... Whenever you encounter
a 7#9 chord OR, you just want to impose that sound on a regular dominant 7th chord, all you need to do is
go up one half step from the written dominant chord and play a Melodic Minor scale. Put another way,
the 7th mode of Melodic Minor IS an ALTERED DOMINANT scale!

              


           
Ab Melodic Minor G7♯9 (think/play Ab melodic minor)

b9 #9 3 #11/b5 b13 b7

© Bob Reynolds | bobsvirtualstudio.com