In a jazz chord progression, there are many ways to alter the extensions and notes in a dominant chord. Reasons for altering dominant chords are to add harmonic variety, to construct elegant and efficient voice leading schemes, and to 'fine-tune' levels of dissonance for expressive purposes. This question is about the last purpose: tuning dissonance.
To exemplify the diversity of alterations to dominant chords, instead of playing tones from the mixolydian mode of the major scale, one could play tones from either the altered scale (7th mode of the melodic minor scale), the lydian dominant scale (4th mode of the melodic minor scale), the mixolydian b6 scale ( 5th mode of the melodic minor scale), the half-whole octatonic scale, modes from harmonic major and minor scales, and perhaps many other scales with dominant 7th chords.
Is there a theory for ranking these kinds of altered dominant chords by dissonance?
That is, can we construct an ordering or ranking like:
least dissonant > mixolydian > lydian dominant > altered > half-whole octatonic > most dissonant,
and if so, what is the order?
If the answer is "no", what is a better way of thinking about the network of alterations to dominant chords?