-
Originally Posted by DeathByIcePants
Hi and welcome to the forum.
Altered dominant chords and their respective scales are not primarily thought to be used in a modal concept.
They have their place in functional harmony where they do a great job enhancing tension and offering more voice leading possibilities. This is even more the case in a minor context, as the natural minor doesn't provide a diatonic dominant chord with the crucial tritone interval. The sound of the altered chord/scale makes sense in a horizontal movement from dominant to tonic, not that much as a mode.
That's why you'll hardly find a piece where the altered chord/scale is used as a mode. Don't confuse this with modal pieces where they use for example dominant#9 (Scofield all the time). Normally they mean "dominant plus the minor third" which is something entirely different (sort of blues scale).
Having said that, even if you use the altered scale/chords in a functional context, you'll need time and practice to get used to it. It's not something that appeals immediately.
-
03-30-2018 03:47 PM
-
I have written pieces where the altered scale is used modally. It's a cool sound.
-
Originally Posted by Boston Joe
I like em too but I can't reach em
Tough on our instrument
-
Originally Posted by DonEsteban
From Bar Chords to Bebop
Today, 02:33 PM in Improvisation