And there is another (b5). A dominant with b5th suggests the chord already includes altered 9th and b13th. Again, I can't hear any tonal scale that fits dominant that contains b5th but not altered 9th and b13.
I found a couple but they are based off of "synthetic" scales...I'm looking at this modally.
The first is what I am calling "Spanish Phrygian Major" (1, b2, 3, 4, 5, 6, 7) The first 1/2 of the scale sounds like Spanish Phrygian to me..the second half, major. I guess it could also be called "Major b2" but it definitely has a Spanish Phrygian sound to me. The five chord of this scale is a V7 (9, b5, 13)
The second I'm calling "Lydian Harmonic Major" which I like the sound of very much actually. (1, 2, 3, #4, 5, b6, 7) This one sounds like a harmonic major scale to me with a raised fourth. The chord built off of the second degree of this scale is the same II7 (9, b5, 13) chord. In my opinion, depending on how one cadenced rhythmically, the ear could be persuaded to hear II-I as a dominant to tonic cadence. Or else the two chord could be heard as a V7/V chord (in this case, the V chord would be a major 7 chord speaking modally.)
There are other scales that could be used modally of course in this same way, but these were the two that I found to be most musical... to my ear anyway....:-)
-K
P.S...those books you have on your site really are fantastic Hiro! Well written!
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