Playing altered tones over II V progressions

[alexander]

A standard jazz progression consists of these chords: IIm7 V7 (altered) I Maj7 VI7 (altered).  If the key was C, the chords would of course be Dm7 G7alt Cma7 A7alt.  To play over this progression,  these scales will work well:  D Dorian, G Lydian Dominant, C Major, A Lydian Dominant.  The Lydian Dominant is the 5th mode of the melodic minor.  It gives you the cool altered tones; b5 #5 b9 #9. 

G Lydian Dominant is the same as Ab Melodic Minor, except you start and end on G.  Many theorists say you shouldn’t think of it that way, but I do.  You just have to remember the root note is still G, even though the scales and arpeggios of Ab minor (melodic) still work. 

You could also play C Harmonic Minor over the G7.  Ab Diminished also works.  (Django Rheinhardt used those forms a lot). 

Another way to approach it is to use the b5 substitution idea.  The difference between G7#5 and Db9 is really only the root note.  Therefore, you can play a Db7 scale (Mixolydian) over G7 and outline the altered tones. 

The modes of the Melodic Minor are very useful for minor II V I progressions.  In C: Dm7b5 (half diminished) G7 (alt) Cm.  Play:  II: Locrian Natural 2, V: Lydian Dominant, I: Melodic Minor.  You can have a lot of fun exploring variations on this.