Post by m***@gmail.comIve been taught it is called Mixolidian b9 b13
I'm not sertain on what it is used with, but my teacher taught me that scale to improvise on top of b7#9 chords (bc both scale and chord create tension)
It sounds awkward but I think that's the point too
Mixolydian b2b6 has a b7.
1 b2 3 4 5 b6 b7
It's the go-to scale on a V7b9 chord in minor keys.
But it doesn't contain the #9.
On both dom7b9 and dom7#9 chords I use an 8-note version of that scale
that simply adds the #9 into the mix.
1 b2 b3 3 4 5 b6 b7
I use to call it "mixolydian b2b6(add#2)" but never told anyone so they
wouldn't laugh at me.
At Berklee, iirc, they called this "the b9 scale" because it's the scale
most closely associated with a dom7b9 chord, especially as V7 in minor keys.
It can be seen as a mode, or rotation, of one of the so-called "bebop
scales".
E.g. The G7b9 scale is:
G Ab Bb B C D Eb F
It uses the same notes as the Eb maj bebop scale (also used on Cm7):
Eb F G Ab Bb B C D
8-note scales tend to be a bit more unwieldy/awkward than 7-note scales.
To reduce it back to 7-notes, try leaving out the 4th.
1 b2 b3 3 5 b6 b7
This way you'll have a 7-note scale with no avoid-notes.
G Ab Bb B D Eb F can be seen as the 3rd mode of Eb harmonic major:
Eb F G Ab Bb B D
Sometimes keeping the 4th and leaving out the maj 3rd is cool too, which
amounts to the phrygian scale from the root of the dom7b9 chords.
But you'll still have to deal with the 4th as an avoid-note.
And of course our original mix b2b6 scale was 7-notes as well.
Hope that helps.
[Note: You could also think of the altered dominant scale (a 7-note
scale) as being "the b9 scale" with b5/#4 replacing both the P4th and
the P5th.
E.g. G altered dominant is:
G Ab Bb B Db/C# Eb F]