I personally favour one of the approaches far more than the other but I will explain and demonstrate each for you. Well there’s a couple of different approaches here. G7alt – G7#9 – G7b9 - G7b13 How to learn and memorise the altered mode? Again using the key of G as an example, here are the most common ones: There are a number of chord symbols that imply the altered mode. So now we have a very tense sounding dominant scale containing the b9, #9, #11 and #5. However, if we look a little closer, we can see that the b4 or b11 is enharmonically equivalent to the major 3^rd^.įrom a functional standpoint, the altered mode contains a major 3rd and b7th and the b3 can be viewed as the enharmonic equivalent to the #9. The presence of the b3, b5 and b7 suggests that the scale should be played over -7b5 chords. If we look at the notation of the G Altered mode we can see that every note has been flattened and that the scale contains a b3, b5 and b7. With all of these alterations, it’s no surprise that the altered mode is a tough one to visualise and memorise in all 12 keys.ĭownload the lesson notation in the Pro Member Area. In fact, the altered scale contains every possible altered chord tone which is the b9, #9, #11 and #5 (or b13) - remember that the #5/b13 is the same note, but jazz musicians use both names which can be confusing. The altered scale is an excellent way to gain access to all of altered tensions of a dominant chord. However, these two terms are less frequently used. ![]() Be aware that these names are interchangeable. The altered mode can also be referred to as the diminished-whole-tone scale and the super-locrian scale.
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