The altered scale (also called super locrian) is the densest dominant color in the melodic minor system. It concentrates multiple altered tensions on one dominant center and creates maximum pull toward resolution. In modal terms, it is the 7th mode of melodic minor.
Construction and formula
In dominant language, the formula is 1-♭9-♯9-3-♭5-♯5-♭7, equivalent to the modal spelling 1-♭2-♭3-♭4-♭5-♭6-♭7. In C altered, the notes are C-D♭-E♭-E-G♭-A♭-B♭. The parent scale is D♭ melodic minor.
The core sound comes from combining 3 and ♭7 with simultaneous altered extensions. That structure makes it one of the strongest pre-resolution dominant colors.
Musical usage
The altered scale is mainly used over V7alt chords, especially before i or I in jazz cadences. It is ideal when you want dense chromatic tension and clear directional release.
Melodically, lines are strongest when chord tones are targeted and surrounded by altered neighbors. Harmonically, 3 and ♭7 plus one or two altered tensions often define the sound immediately.
Examples
- V7alt lines in minor ii-V-i progressions.
- Dominant reharmonization with maximum altered color.
- Fusion and modern jazz phrases with compact chromatic tension.
- Comparative studies between Mixolydian, Lydian Dominant, and altered.
In practice
Start by practicing dominant guide tones (3 and ♭7), then add ♭9, ♯9, ♭5, and ♯5 gradually. This keeps function clear while helping you control altered color.
For improvisation, clear target-tone resolution matters more than running scale shapes. For composition, use altered as a peak-tension dominant sound before a strong release.
