I’ve also included the natural 13th, F#, which creates a very John Scofield-esque sound, especially when paired with a #9 or b9. Some players also include the natural 5th (as I’ve done here in a couple of the chords), which in this case is the note E. The A altered-dominant scale is spelled A, Bb, B# (or C), C#, Eb, F, G. It contains the root, major 3rd and b7th to define its essential quality, but all other scale degrees are altered from their natural position, hence b9, #9, b5 and b13. 9, the altered-dominant scale, also known as the super-Locrian mode, which is intervallically spelled 1, b2 (or b9), b3 (or #9), 3, #4 (or b5, or #11), #5 (or b13), b7, creates maximum dissonance and tension without “breaking” the dom7 chord. 6 presents a number of great-sounding chords, all over the neck, that effectively describe the sound of the D Dorian mode (D, E, F, G, A, B, C), which is the second mode of the C major scale (C, D, E, F, G, A, B). There are many modes and concepts to explore, but I’ll narrow things down here and focus on the highly appealing and useful Dorian, Lydian and Mixolydian modes, as well as the very tense-sounding altered-dominant-7th tonality.Įx.

Great guitarists such as Pat Metheny, Bill Frisell, Joe Dioro, Kenny Burrell, Emily Remler, Scott Henderson and Allan Holdsworh have employed this modal approach with brilliant results. This approach also offers more options for playing chords in conventional progressions. Rather than considering chords to only be unmovable blocks, it’s liberating to think of a key area or tonal environment and use chords derived from a scale or mode in a more fluid manner, particularly when “hanging out,” or vamping, on a single chord for several bars. Rather than considering chords to only be unmovable blocks, it’s liberating to think of a key area or tonal environment and use chords derived from a scale or mode in a more fluid manner

Jazz guitar solo