Altered Scale Phrases Inspired by Sonny Clark

For the first time in this series, we examine a phrase using the altered scale, taken from the playing of legendary jazz pianist Sonny Clark. Please look at the score below.

The phrase occurs over the familiar ii–V–I progression Gm7–C7–F6. A performance demonstration follows.

The altered sound appears in bar 2 over C7. We will not analyze the surrounding measures here. The altered scale is often taught over dominants resolving to minor chords, but jazz players also use it over dominant chords resolving to major, as in this example. To experienced listeners, the color can sound entirely natural.

Focus on the C7 measure. Relative to C, E♭ (enharmonically D♯) functions as ♯9, while D♭ is ♭9. A♭ on beat 2 supplies the ♭13 color. The phrase makes prominent use of altered tensions; the score should be consulted for the exact notes and rhythmic placement. Apart from the chord tones C (root) and E (third), the line emphasizes altered extensions. Descending altered-scale runs like this are a common improvisational device for pianists.

Try playing the phrase yourself and listen to how the altered color resolves into F. I hope this example offers useful ideas for your own jazz-piano practice and jam sessions.