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The altered scale
The altered scale (or super locrian mode) is the seventh mode of the melodic minor scale. It
is used to play over 7th altered chords when you want to create tension in your jazz lines.

The altered scale is so called because it contains all four common altered notes generally used
to add tension when soloing over a dominant chord. These four notes altered notes are b9 - #9
- b13 - b5.

G altered scale G Ab Bb B Db Eb F
Formula 1 b9 #9 3 b5 b13 b7
Intervals H W H W W W H

Mastering the Altered Scale

Here are two suggested guitar diagrams to play the altered scale on the guitar. You must be able to
locate each altered note (b9, #9, b5 and b13) from the tonic ().

Now that you are familiar with the basic positions above, it's time to play the altered scale in twelve
keys and in four directions. An important part of practicing jazz improvisation is to work on scales
before playing common licks and trying to improvise. Here are several avenues of work that will help
you to hear and play the altered scale.
4 directions

First, you can play all the twelve altered scales in an ascending movement (up & up). From the lowest
to the highest note.

Then you have to do the same with a descending movement (down & down).
2

Down and up

And logically the last one, up & down.

Circle of fourths

You can even try to play the altered scale following the circle of
fourths.

What is the circle of fourths ? This is the relationship between

the twelve notes of the chromatic scale. Every note resolves to
another note a fourth above it. In other words, by following the
circle of fourths, you play all the notes separated from each
other by five semitones (a fourth).

That means you have to play C altered scale, F altered, Bb

altered, etc.

Intervals

A good way to mastering scales is to practice them by intervals of thirds, fourths, fifths, sixths and
sevenths following the four directions previously seen.
Altered scale in thirds - Up & up

Altered scale in thirds - down & down

Altered scale in thirds - down & up

Altered scale in thirds - up & down

Now you have to do this with the other intervals.

Triad arpeggios

A triad is a set of three notes which, when they are stacked in thirds, forms a chord. By playing these
notes one by one, you obtain arpeggios. The altered scale is made up of seven triads :

 2 diminished triads (Degrees I & VII)

 2 minor triads (II & III)
 2 major triads (V & VI)
 1 augmented triad (IV)
  The G diminished triad highlight the #9 and the #11 of the G altered scale. 4
 The Abm triad highlight the b9 and the b13.
 The Bbm triad highlight the #9 and the b5.
 The B augmented triad highlight the b13.
 The Db major triad highlight the b5 and the b9.
 The Eb major triad highlight the b13 and the #9.
 The F diminished triad highlight the b9.

As you can see in the example above, the seven triads are played in an ascending movement (up & up).
Try to play them by following the 4 directions.

Seventh arpeggios

After practicing triads, you can arpeggiate the seventh chords. Indeed, there are five types of seventh
chords within the altered scale :

 Minor seventh (degree III)

 Half diminished (I & VII)
 Minor major seventh (II)
 Major seventh sharp five (IV)
 Dominant seventh (IV & V the latter is the tritone substitution)

Here are the seventh arpeggios related to the G altered scale.

Once again you can practice these arpeggios in the 4 directions described previously.
Pentatonic scale - Tritone substitution

There are two pentatonic scales within the altered scale. The first is the major pentatonic scale. It
starts on the b5 of the altered scale. For example, in the key of G, you can play the Db major
pentatonic scale to highlight the b5, b9 and the #9 of G7. This is a tritone substitution pentatonic. The
second pentatonic scale is the relative minor which contains the same notes as the major pentatonic
scale. In the key of G, Bb minor pentatonic scale is the relative minor of Db major pentatonic scale.
(licks #21, 22,23)

Four notes grouping

5
This technique is to group four notes in order to create original and interesting lines. It is inspired by
the most famous pattern (sometimes referred as the Coltrane pattern) that is constructed using the
1st, 2nd, 3rd and 5th degrees of a scale. The example below consists to apply the 1235 pattern starting
on each tone of the G altered scale.

You can now create your own patterns (1234, 2351, etc).

II-V7(alt) - I - licks
The next step is learning to incorporate altered lines in the common II-V-I progression. All the following
lines are in the key of C. That gives the following sequence : Dm7 | G7alt | CM7 |

Over Dm7 we will basically use the D dorian mode (D-E-F-G-A-B-C). You can take a look at this lesson
about the Dorian mode.

Resolutions
The interest of the altered scale is to resolve its tensions to a note of the next chord. In the following
lines :

 The b5 (Db) resolves to the root of C.

 The b9 (Ab) resolves to the fifth of C (G).
 The b13 resolves to the major third of C (B).

That does not mean that you have to resolve all your altered lines following the three previous
examples. It simply gives you a firm understanding of what is happening harmonically and will guide
your ear.
Lick #1 - Ab minor triad

Lick # 2 - Ab minor triad

Lick # 3 - Db major triad

Lick # 4 - Db7 arpeggio - Tritone substitution

Lick # 5 - Fm7b5 arpeggio

7
Lick # 6 - G altered scale

Lick # 7 - G altered scale

Lick # 8 - Db ninth arpeggio

Lick # 9 - Ab minor triad

8
Lick # 10 - Bb minor pentatonic scale

Lick # 11 - Bb minor pentatonic scale

Lick # 12 - Bb minor pentatonic scale

Lick # 13 - Gm7b5 arpeggio

Lick # 14 - Gm7b5 arpeggio

Lick # 15 - Bbm7 & BM7#5 arpeggios

Lick # 16 - Db7 arpeggio

Lick # 17 - Eb7 arpeggio

Lick # 18 - Fm7b5 arpeggio 10

Lick # 19 - Ab melodic minor

Lick # 20 - Ab melodic minor

Lick # 21 - Db major pentatonic scale - Tritone substitution

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Lick #22 - Db major pentatonic scale - Tritone substitution

Lick # 23 - Playing a few notes

Lick # 24 - Playing a few notes

Lick # 25 - Mixolydian mode and b13

Conclusion 12

The altered scale is surely the most efficient way to access the altered notes of a V7 chord, what
makes this scale a must know for any jazz guitarist who wants to spice up its playing. There are many
ways to approach it and many other devices, to play altered lines. The whole-tone scale, the half-
whole diminished scale, the Mixolydian b13 scale (lick #25) are effective tools too.

All these altered lines and techniques discussed in this eBook can be applied to the V of any sequences
as minor II-V-I, I-VI-II-V, II7-V7-I, turnarounds or blues progressions in any key. All the fingerings are
suggested. Once you have learned these jazz lines you must try to change notes, vary the fingering,
add fretting-hand effects (Hammer-on, pull-off, bend, slide, vibrato) and find some new musical ideas
by inspiring you to these licks.

Also Available (click to download)

About the author

Stef Ramin
Guitar teacher &
composer
jazz-guitar-licks.com

And many more .....