Exploring the Rich Harmonies of the Altered Dominant Scale- A Musical Journey Unveiled

Understanding and utilizing a altered dominant scale is a crucial aspect of jazz improvisation and composition. This scale, also known as the altered dominant scale, plays a significant role in adding tension and resolution to chords, making it an essential tool for any musician looking to expand their harmonic vocabulary. In this article, we will delve into the origins, structure, and applications of the altered dominant scale, providing valuable insights for musicians of all levels.

The altered dominant scale, as the name suggests, is a variation of the dominant scale, which is the fifth mode of the major scale. The traditional dominant scale consists of the root, major third, perfect fifth, minor seventh, and major ninth. In contrast, the altered dominant scale adds the flat fifth, flat ninth, and flat thirteenth to the traditional formula. This addition of flat notes creates a unique and tension-filled sound that has become a staple in jazz music.

The structure of the altered dominant scale can be represented as follows: root, major third, flat fifth, minor seventh, flat ninth, flat eleventh, and flat thirteenth. This scale is often abbreviated as A7(b5, b9, b13). The flat fifth, flat ninth, and flat thirteenth create a sense of instability and tension, which is resolved by the return to the root note or a dominant chord.

One of the most famous examples of the altered dominant scale in jazz is found in the Miles Davis tune “So What.” The use of the altered dominant scale in this composition was revolutionary, as it allowed for a more open and exploratory approach to harmony. Since then, the altered dominant scale has been widely adopted by jazz musicians and composers, providing a rich palette of sounds and possibilities.

In jazz improvisation, the altered dominant scale can be used in various contexts. One common approach is to play the scale over a dominant chord, such as a G7 chord. By incorporating the flat fifth, flat ninth, and flat thirteenth, the improviser can create a tension-filled line that resolves to the root of the chord. This technique can be particularly effective in the bridge or turnaround sections of a tune.

Another application of the altered dominant scale is in chord substitution. By using the altered dominant scale over a chord that is not a dominant chord, such as a minor chord, the musician can create a unique and unexpected harmonic progression. For example, playing the altered dominant scale over an A minor chord can lead to a rich and colorful harmonic texture.

To further understand the altered dominant scale, let’s take a look at a few exercises:

1. Practice playing the altered dominant scale in all 12 keys on your instrument. This will help you become familiar with the scale and its unique sound.
2. Compose a simple melody using the altered dominant scale over a G7 chord. Experiment with different rhythms and phrasing to explore the scale’s full potential.
3. Try substituting the altered dominant scale for a minor chord in a jazz standard. Notice how the tension and resolution of the scale add a new dimension to the melody.

In conclusion, the altered dominant scale is a powerful tool for jazz musicians and composers. By understanding its structure and applications, you can add depth and complexity to your music. Whether you are improvising or composing, the altered dominant scale can be a valuable asset in your harmonic toolkit.