This is the second example of how to use Pattern No.1 of the tritone hexatonic scale over a V7 chord. Instead of a typical four-bar ii-V-I progression, I’ve added the VI7alt in the last measure of the phrase, resolving to the ii chord in bar five. As with the...
The tritone scale is created from two major triads that are a tritone apart. In this case, I’m using the G and Db major triads that result in a hexatonic scale G-Ab-B-Db-Dn-F and can be used for altered dom7 lines over both G7 and Db7. This scale can be played...
The tritone scale is created from two major triads that are a tritone apart. In this case, I’m using the G and Db major triads that result in a hexatonic scale G-Ab-B-Db-Dn-F and can be used for altered dom7 lines over both G7 and Db7. This scale can be played...
The tritone scale is created from two major triads that are a tritone apart. In this case, I’m using the G and Db major triads that result in a hexatonic scale G-Ab-B-Db-Dn-F and can be used for altered dom7 lines over both G7 and Db7. This scale can be...
Looking for another way to alter a Dom7 chord, I combined the concepts of triad pairs and tritone substitution to create a hexatonic (6-note) scale. The scales below are for G7 and use the G major (G-B-D) and Db major (Db-F-Ab) triads. When the notes are arranged...
