How to Use the Altered Scale in Jazz Piano Improvisation (with 7 Licks to Practice)
- The Ivori Room
- Jun 6, 2025
- 3 min read
For pianists exploring jazz improvisation, the altered scale is one of the most effective tools for adding color, tension, and contrast to melodic lines — especially when soloing over dominant seventh chords. This blog article introduces seven short, practical licks that show how the altered scale can be used in context. But before we dive into those examples, let’s take a moment to understand what the altered scale actually is — just so we’re on the same page.
Constructing the Altered Scale
The altered scale is a seven-note scale commonly used over dominant seventh chords when you want to introduce tension or movement in your improvisation. Its formula is:
1, ♭9, ♯9, 3, ♯11, ♭13, 1
To make sense of the scale formula, we interpret them in relation to the major scale. For example, to construct a G altered scale, we start by referencing the G major scale and assigning scale degrees:
G = 1 | A = 2 (or 9) | B = 3 | C = 4 (or 11) |
D = 5 | E = 6 (or 13) | F♯ = 7 |
Once we have the scale degrees of the major scale, we can work out the altered notes as follows:
♭9 → A♭ | ♯9 → A♯ | ♯11 → C♯ | ♭13 → E♭ |
Thereafter, by applying the scale formula of 1, ♭9, ♯9, 3, ♯11, ♭13, 1, we can determine that the notes of the G altered scale becomes:G – A♭ – A♯ – B – C♯ – E♭ – F
The altered scale is typically used over dominant 7 chords—so the G altered scale would be used over a G7, particularly in a V7–I progression.
Shortcut: Altered Scale = Melodic Minor a Half Step Up
The altered scale is also known as the seventh mode of the melodic minor scale. That means the G altered scale is the seventh mode of the A♭ melodic minor scale.
If you’re not familiar with modes, don’t worry—the main takeaway is simply this: you can quickly figure out the notes of any altered scale by thinking of it as a melodic minor scale built a half step above the root of the dominant chord.
For example:
G7 → G altered scale → A♭ melodic minor
E7 → E altered scale → F melodic minor
B♭7 → B♭ altered scale → B melodic minor
This shortcut is especially useful for pianists with classical training, since melodic minor scales are often practiced early on. By making this mental connection, you can quickly recall or apply the altered scale when improvising over dominant chords—without having to construct each note from scratch.
7 Altered Scale Licks to Practice This Week
Now that you’ve seen how the altered scale is constructed, let’s look at how it functions in actual playing. To help you get started, here are 7 short licks that demonstrate the usage of the altered scale.
Each lick is written over a ii–V–I in C major:
The Dm7 portion draws from D Dorian (same notes as C major)
The G7alt portion uses the G altered scale
The Cmaj7 portion returns to C major
These licks are designed to give you a musical sense of how to begin to apply the altered scale over V7 chords.
Altered Lick No. 1
Altered Lick No. 2
Altered Lick No. 3
Altered Lick No. 4
Altered Lick No. 5
Altered Lick No. 6
Altered Lick No. 7
Summary
The altered scale is one of the most distinctive sounds in jazz - dense with tension, yet full of resolution possibilities when used effectively. These seven licks offer a starting point for internalizing the scale in a musical context, especially within the ii–V–I progression where it’s most commonly applied.
As you practice, listen carefully to how each altered tone interacts with the harmony, and how the line resolves into the I chord. Try adapting the licks into different keys, experimenting with your own variations, or using the melodic minor shortcut to build altered lines over other dominant chords.
To support your practice, a PDF of all seven licks transposed into all 12 keys is available for download. It’s a useful resource for building fluency and expanding your vocabulary across different tonal centers.
PDF Download Link: coming soon
