3.1 Advanced Modal Scales
Exotic, symmetrical and synthetic scales for modern jazz
Key Concepts
Melodic Minor Scale
The 7 modes of the melodic minor scale. Altered, Lydian Dominant and Lydian Augmented are the most commonly used in jazz.
Symmetrical Scales
Whole-tone and diminished. A repetitive mathematical structure. Just 2–3 unique scales, transposed.
Altered Scale
Melodic minor VII mode. It contains all the accidents (♭9, #9, ♭5, #5). Essential for altered dominants.
Harmonic Minor Scale
Dominant Phrygian (Mode V). ‘Spanish’/Middle Eastern sound. Used in flamenco and jazz.
Bebop Scales
8 notes (including a chromatic note). They align with the rhythm, making it easier to improvise over chord tones.
Contextual Choice
There is no such thing as ‘the’ right scale. Every scale produces a different colour. The musical context guides the choice.
Beyond the Major Scale Modes
In addition to the seven modes of the major scale (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian), there are many other modal scales that offer unique harmonic colours. These scales are fundamental to modern jazz, contemporary music and world music.
Advanced modal scales are derived mainly from three sources: the melodic minor (7 modes), the harmonic minor (7 modes), and symmetrical scales (whole-tone, diminished). Each scale creates a distinctive sound that you can use for improvisation and composition.
Modes of the Melodic Minor Scale
The melodic minor scale (ascending) gives rise to seven modes that are widely used in modern jazz.
Altered Scale (7th mode)
Chord progression: 1 - ♭9 - #9 - 3 - ♭5 - #5 - ♭7
Example: G Altered = G – A♭ – A# – B – C# – D# – F
Usage: Altered dominant chords (G7alt, G7♭9#5, etc.)
Lydian Dominant (Mode IV)
Chord: 1 – 2 – 3 – #4 – 5 – ♭7
Example: C Lydian Dominant = C – D – E – F♯ – G – A – B♭
Usage: Unaltered dominants, substitutes for the tritone
Lydian Augmented (Mode III)
Formula: 1 – 2 – 3 – #4 – #5 – 6 – 7
Example: C Lydian Augmented = C – D – E – F# – G# – A – B
Usage: Maj7#5, Maj7#11 chords
Symmetrical Scales
Whole-Tone Scale
Chord progression: 1 – 2 – 3 – #4 – #5 – ♭7 (all whole tones)
Pattern: T - T - T - T - T - T
Example: C Whole Tone = C – D – E – F# – G# – A# – C
Usage: Altered dominant chords, augmented chords
Diminished Scales
Half-Whole Diminished: S-T-S-T-S-T-S-T
Example: C – D♭ – E♭ – E – F# – G – A – B♭
Usage: Diminished chords (Cdim7)
Whole-Half Diminished: T-S-T-S-T-S-T-S
Example: C – D – E♭ – F – F# – G# – A – B
Usage: Dominant 7♭9 (C7♭9)
Harmonic Minor Scales
Phrygian Dominant (Mode V)
Formula: 1 - ♭2 - 3 - 4 - 5 - ♭6 - ♭7
Example: E Phrygian Dominant = E – F – G# – A – B – C – D
Use: Dominant chords in minor keys, flamenco
Exotic Staircases
The Enigmatic Staircase
Formula: 1 - ♭2 - 3 - #4 - #5 - #6 - 7
Used by modern classical composers
Neapolitan Scale
Formula: 1 - ♭2 - ♭3 - 4 - 5 - ♭6 - 7
Minor harmony with a minor second
Hungarian Staircase
Formula: 1 – 2 – ♭3 – #4 – 5 – ♭6 – 7
Used in folk music
Bebop Scales
Bebop Dominant: Mixolydian + 7
Bebop Major: Ionian + #5
8 notes to get in time with the beat
Practical Application
Quick Guide: Which Scale to Use
| Agreement | Available Sizes | Effect |
|---|---|---|
| Cmaj7 | Ionian, Lydian, Augmented Lydian | Standard → Modern → Experimental |
| C7 | Mixolydian, Lydian, Dominant, Altered, Whole-tone | From a consonant to completely altered |
| Cm7 | Dorian, Aeolian, Phrygian | Bright → Dark → Exotic |
| Cdim7 | Diminished (H-W) | Symmetrical voltage |
Practical Examples of Advanced Modal Scales
An analysis of how advanced modal scales are used in songs. Listen and study their practical application.
"Dolphin Dance" – Herbie Hancock
Scale: Lydian Dominant (C Lydian Dominant)
Analysis: Extensive use of the dominant lidio scale (melodic minor, IV mode) over C7 chords. The #11 creates a suspended sound.
Listen"Footprints" – Wayne Shorter
Scale: Phrygian Dominant
Analysis: Melody based on the Phrygian-Dominant scale. Characteristic Middle Eastern/modal sound.
Listen"Giant Steps" – Altered solos
Scale: Altered scale on the dominant chords
Analysis: Improvisers use the altered chord on every V7. D7alt→Gmaj7 = D altered (from the E♭ minor melodic VII mode).
Listen"Spain" – Chick Corea
Scale: Phrygian Dominant + Harmonic Minor
Analysis: The intro uses harmonic minor scales. A flamenco-jazz fusion sound.
ListenInteractive Audio Examples
Listen to the advanced modal scales in action. Each example demonstrates the scale played both ascending and descending.
Study Tips
1. A Staircase to the Vault
Don’t try to learn all the scales at once. Start with the Aeolian (the most commonly used), then the Lydian-Dominant, then the Whole-Tone. It’s better to master 3–4 scales than to have a superficial knowledge of 20.
2. Practice in All Keys
Play each scale in all 12 keys. Use the circle of fifths: C–F–B♭–E♭… Record a backing track with a single chord and improvise using the scale for 5–10 minutes.
3. Scala–Accordo Link
Don’t learn scales in isolation. G Altered = G7alt. C Lydian Dominant = C7. Always associate the scale with the chord it works with.
4. Transcribe Real-World Applications
Transcribe solos by McCoy Tyner, Michael Brecker and John Coltrane. Note when they use the altered, whole-tone and diminished scales. Learn from real-life contexts.
5. Create Patterns and Licks
Come up with 5–6 licks for each scale. Patterns in triplets, quadruplets and sequences. Having ready-made phrases speeds up improvisation.
6. Compare Sound Colours
Play C7 and improvise using the Mixolydian scale, then the Altered scale, then the Whole Tone scale, then the Diminished scale. Listen to how the tone changes. This helps develop your ‘sonic palette’.
7. Study symmetry
The diminished scale repeats every 3 semitones. The whole-tone scale repeats every 2 tones. Understanding the mathematical geometry helps you to memorise it and visualise it on the keyboard/neck.
8. Don’t overdo it
Exotic scales should be used sparingly. An entire solo in the Altered scale becomes monotonous. Alternate them with diatonic scales to create contrast and musical direction.
Common Mistakes
1. Always Use Altered Scales
Problem: Using the altered or whole-tone scale on every V7 chord to play ‘modern’.
Solution: Not every V7 requires accidents. A diatonic V7→I sounds best with the Mixolydian scale. An altered V7 works when it resolves chromatically or when the melody contains accidents.
2. Don’t Connect with the Melody
Problem: Playing the scale up and down without creating a melody.
Solution: Use scales to create melodic PHRASES, not just exercises. Think about rhythm, contour and space. The scale is a tool, not an end in itself.
3. Confusing whole-half and half-whole diminished chords
Problem: Using H-W diminished on V7 (instead of W-H).
Solution: H-W = diminished chords (Cdim7). W-H = dominant 7♭9 (C7♭9). Remember: ‘Whole-Half for Dominant 7’.
4. Not Understanding the Relationship Between Scale and Chord
Problem: G Altered = G-A♭-B♭-B-C#-D#-F. I don’t understand why.
Solution: G Altered is the VII mode of the melodic A♭ minor scale (A♭-B♭-C♭-D♭-E♭-F-G). Play the root scale to understand the relationship.
5. Learning Too Many Scales Superficially
Problem: Knowing 30 scales but not having mastered any of them.
Solution: Focus on 5–6 essential scales: Altered, Lydian Dominant, Whole Tone, Diminished (both), Phrygian Dominant. Master them PERFECTLY.
Summary of Advanced Modal Scales
Essential Scales to Master:
- Altered (VII minor mode) – V7alt → I. All accidents: ♭9, #9, ♭5, #5
- Lydian Dominant (IV minor mode) – V7 with #11. Substitute tritone, modern sound
- Lydian Augmented (III minor scale) – Imaj7#5, Imaj7#11
- Whole Tone – V7, augmented. Ambiguous, suspended. There are only two scales
- Diminished W-H – V7♭9. Symmetrical every 3 semitones
- Dominant Phrygian (5th harmonic) – Flamenco, Middle Eastern
A practical approach: You don’t need to know all the theoretical scales. Mastering 5–6 scales thoroughly is infinitely more useful than having a superficial knowledge of 20.
Application: Each scale creates a particular mood. C7 with the Mixolydian scale = harmonious. C7 with the Altered scale = maximum tension. C7 with the Whole Tone scale = ambiguous/experimental. Choose according to the emotion you wish to create.
Regular practice: Spend 15–20 minutes a day on ONE scale. Play it in all keys, create licks, and improvise over backing tracks. After one month, move on to the next one.