Altered scale

<h2 id="enharmonic-spellings-and-alternate-names">Enharmonic spellings and alternate names</h2>
<p>The C altered scale is also <a href="/facts/Enharmonic/lSwDb7JN">enharmonically</a> equivalent to the C <a href="/facts/Locrian_mode/gpfX6aj7">Locrian mode</a> with F changed to F♭. For this reason, the altered scale is sometimes called the Locrian ♭ 4 scale.<a class="footnote-ref" id="fnref:1" href="#fn:1"><sup>1</sup></a>
</p><p>It is also enharmonically the seventh <a href="/facts/Mode_(music)/uzguYm9j">mode</a> of the <a href="/facts/Minor_scale/MedkQtlE">ascending melodic minor scale</a>. The altered scale is also known as the Pomeroy scale after <a href="/facts/Herb_Pomeroy/RnKBxAG2">Herb Pomeroy</a>,<a class="footnote-ref" id="fnref:2" href="#fn:2"><sup>2</sup></a><a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a> the Ravel scale after <a href="/facts/Maurice_Ravel/PrvyAqHB">Maurice Ravel</a>, and the diminished whole tone scale due to its resemblance to the lower part of the <a href="/facts/Octatonic_scale/r7km4eb5">diminished scale</a> and the upper part of the <a href="/facts/Whole_tone_scale/cXjRAUGe">whole tone scale</a>.<a class="footnote-ref" id="fnref:4" href="#fn:4"><sup>4</sup></a>
</p><p>The super-Locrian scale (enharmonically identical to the altered scale) is obtained by flattening the fourth note of the diatonic Locrian mode. For example, flattening the fourth note of the C Locrian scale gives us the C altered scale:
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<p>The altered scale can also be achieved by raising the tonic of a major scale by a half step. For instance, raising the tonic of the C major scale by a half step (here spelled as an augmented unison) produces the scale C♯-D-E-F-G-A-B-C♯:
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<p>The altered scale can also be the <a href="/facts/Major_scale/WtnkhIgv">major scale</a> with all of the notes except the tonic being flattened. For example, taking the C♯ major scale and flattening all of the notes except the tonic produces the C♯ altered scale (see above).
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<h2 id="common-usage">Common usage</h2>
<p>Because it contains the essential notes of a dominant seventh chord, it can be used to create melodies over the dominant chord in a jazz context.  The added dissonance of the altered notes creates extra tension on the dominant.
</p>
<h2 id="see-also">See also</h2>
<ul><li><a href="/facts/Altered_chord/mrgwXrxw">Altered chord</a></li>
<li><a href="/facts/Jazz_scale/IExg49af">Jazz scale</a></li></ul>

<p>Sources
</p>
<ul><li>Bahha, Nor Eddine, and Robert Rawlins. 2005. <i>Jazzology: The Encyclopedia of Jazz Theory for All Musicians</i>, edited by Barrett Tagliarino. Milwaukee: Hal Leonard. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-634-08678-6.</li>
<li>Haerle, Dan. 1975. <i>Scales for Jazz Improvisation: A Practice Method for All Instruments</i>. Lebanon, Indiana: Studio P/R; Miami: Warner Bros.; Hialeah : Columbia Pictures Publications. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-89898-705-8.</li>
<li>Miller, Ron. 1996. <i>Modal Jazz Composition & Harmony</i>, volume 1. Rottenburg: Advance Music.</li>
<li>Service, Saxophone. 1993. "The Altered Scale In Jazz Improvisation". <i>Saxophone Journal</i> 18, no. 4 (July–August):</li></ul>
<h2 id="further-reading">Further reading</h2>
<ul><li>Callender, Clifton. 1998. "Voice-leading parsimony in the music of Alexander Scriabin", <i><a href="/facts/Journal_of_Music_Theory/TpKcmW21">Journal of Music Theory</a></i> 42, no. 2 ("Neo-Riemannian Theory", Autumn): 219–233.</li>
<li><a href="/facts/Dmitri_Tymoczko/8haYQGq1">Tymoczko, Dmitri</a>. 1997. "The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz." <i><a href="/facts/Int%25C3%25A9gral_(journal)/UGxsx4Jt">Integral</a></i> 11:135–79.</li>
<li>Tymoczko, Dmitri. 2004. "Scale Networks in Debussy." <i><a href="/facts/Journal_of_Music_Theory/TpKcmW21">Journal of Music Theory</a></i> 48, no. 2 (Autumn): 215–292.</li></ul>
<h2 id="external-links">External links</h2>
<ul><li><a href="https://www.jazzguitar.be/blog/altered-scale-for-guitar/">"The Altered Scale for Jazz Guitar"</a>, jazzguitar.be</li></ul>

<h2 id="references">References</h2>

<ol>
<li id="fn:1"><p>Service 1993, 28. - Service, Saxophone. 1993. "The Altered Scale In Jazz Improvisation". Saxophone Journal 18, no. 4 (July–August):[full citation needed] <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li>
<li id="fn:2"><p>Bahha and Rawlins 2005, 33. - Bahha, Nor Eddine, and Robert Rawlins. 2005. Jazzology: The Encyclopedia of Jazz Theory for All Musicians, edited by Barrett Tagliarino. Milwaukee: Hal Leonard. ISBN 978-0-634-08678-6. <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li>
<li id="fn:3"><p>Miller 1996, 35. - Miller, Ron. 1996. Modal Jazz Composition & Harmony, volume 1. Rottenburg: Advance Music. <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li>
<li id="fn:4"><p>Haerle 1975, 15. - Haerle, Dan. 1975. Scales for Jazz Improvisation: A Practice Method for All Instruments. Lebanon, Indiana: Studio P/R; Miami: Warner Bros.; Hialeah : Columbia Pictures Publications. ISBN 978-0-89898-705-8. <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li>
</ol>

Altered scale open-in-new

Altered scale