Augmented intervals, chords & scales in music

First, if you do not know all of your intervals, then you should read my Music Intervals article. Otherwise, you will not understand a lot of what I am covering. But here is a brief explanation of intervals:

Any two notes played individually or simultaneously create what is known as an interval. An interval is the distance between any two notes of the chromatic scale. The intervals can be either minor, major, diminished, augmented or perfect. We are concerned with the augmented intervals for this article.

Augmented intervals

I don’t accept goofy intervals names such as augmented 3rd or augmented prime. I understand why those interval names occur. As a matter of fact, I had to notate an interval in my Diminished Modes article as a d4 (diminished 4th).

In my opinion, there are only three augmented intervals that you will use in a chord:

Augmented 2nd: also called #9 and notated as A2, it is the 2nd note of a scale or mode that is 3 semitones above the tonic. For example, for a C chord or scale, D# is the augmented 2nd.

Augmented 4th: also called #11 and notated as A4, this is the tritone note and is 6 semitones above the tonic. For example, for a C Lydian chord or scale, F# is the augmented 4th.

Augmented 5th: also called #5 or +5 and notated as A5, it is the 5th note of a scale or mode that is 8 semitones above the tonic. For example, G# is the augmented 5th of the note C.

Enharmonic equivalents

Enharmonic is a tern used to describe an element of music that can have two names. An example is the A# note from the chromatic scale which is an enharmonic equivalent of the note B♭. The three augmented intervals above also have enharmonic equivalents known as enharmonic intervals.

C to D# is an augmented 2nd (A2 or #9)
C to E♭ is a minor 3rd (m3 or ♭3)

D# and E♭ are enharmonic equivalents

C to F# is an augmented 4th (A4 or #11)
C to G♭ is a diminished 5th (d5 or ♭5)

F# and G♭ are enharmonic equivalents

C to G# is an augmented 5th (A5 or #5)
C to A♭ is a minor 6th (m6 or ♭13)

G# and A♭ are enharmonic equivalents

Don’t worry if that is confusing to you. I only mention it because some players may see the #9 and #11 as the ♭3 and ♭5 from the Blues scale. Let’s get into building augmented chords so you can understand the augmented intervals better.

The augmented triad and related chords

I want to focus on the augmented 5th interval, the augmented triad and the chords built off of that triad. There are 5 or 6 chords that are based on the augmented triad.

I’ll add 2 of my favorite chord voicings below each chord type. Here is an image describing all the symbols on my chord blocks:

Augmented triad: root, major 3rd, augmented 5th = 1-M3-A5 = 1-3-#5
Chord names: aug, +, #5, e.g. C-E-G# = Caug, C+ or C#5
Chord equivalent: equals an aug triad on each chord tone, Caug = Eaug = G#aug
Chord tendency: works best as a V chord, e.g. G+ > C

maj7#5: root, major 3rd, augmented 5th, major 7th = 1-M3-A5-M7 = 1-3-#5-7
Chord tendency: It sounds best to me resolving to minor triads on the P4 and M6, e.g. Fmaj7#5 > Dm (best) and B♭m

7#5: root, major 3rd, augmented 5th, minor 7th = 1-M3-A5-m7 = 1-3-#5-♭7
Chord tendency: Resolves best to its P4, but also to the m2, m3 and the minor on the M6, G7#5 > C, A♭, B♭ and Em

7#5♭9: root, major 3rd, augmented 5th, minor 7th, minor 2nd = 1-M3-A5-m7-m2 = 1-3-#5-♭7-♭9
Chord equivalent: equals a m9♭5 on the ♭7, C7#5♭9 = Bbm9♭5
Chord tendency: Resolves to the m2, P4, M6, and M7, e.g. G7#5♭9 > A♭, C, E, F#

9#5: root, major 3rd, augmented 5th, minor 7th, major 2nd = 1-M3-A5-m7-M2 = 1-3-#5-♭7-9
Chord equivalent: equals a 9♭5 on the ♭7 and a 7♭5♭13 (7#5#11) on the M3, C9#5 = Bb7♭5 = E7♭5♭13 (or E7#5#11 if you like)
Chord tendency: Resolves to major chords on the m3, P4 and m6 and minor triads on the M6 and M7, e.g. G9#5 > B♭, C, E♭, Em, and F#m.

7#5#9: root, major 3rd, augmented 5th, minor 7th, augmented 2nd = 1-M3-A5-m7-A2 = 1-3-#5-♭7-#9
Chord tendency: Resolves to practically every chromatic scale degree except the M2, A4, and P5. So for G7#5#9 the resolution or tendency to A, C# and D major are weak at best. Try every other chromatic major triad. I did not try minor triads but they probably word as well.

*7#5#11: You may occasionally see this chord name. This is a 7#5 chord with the augmented 4th added. I personally don’t use this name. I prefer the 7♭5♭13 chord name. Whichever chord name you choose, it resolves to the m2, P4, P5, and M7. So for G7#5#11 follow it with A♭, C, D or F# major.

Other chords with augmented intervals

There are other chords that have augmented intervals in them. Here is a list of them, but for more information read my F Lydian Chords and Altered Chords articles.

Maj7#11: a maj7 chord with the augmented 4th interval. If you omit the perfect fifth the name is maj7♭5. You will also see maj9#11 & maj13#11

7#9: a dominant 7th chord an augmented 2nd interval added. You will also see 13#9.

7#11: a dominant 7th chord with an augmented 4th interval added. You will also see 9#11 and 13#11

Other dominant 7th chords with augmented intervals are 7♭9#11, 7#9#11 and maybe 7#9♭13. They all can act as dominant 7th chords and resolve accordingly, but due to the alterations, they have other resolutions or tendencies.

Augmented scales & modes

There are generally just two scales that are considered augmented scales. They are the whole tone scale and the augmented scale. However, there are augmented modes in both the harmonic and melodic minor scales.

Also, I’m only referencing of scales or modes that build augmented triads and augmented 7th chords. There are other scales and modes that have #11 or #9 intervals. Here are the augmented scales and modes that build the augmented chords listed above.

Augmented scale

There are 2 different methods when it comes to the augmented scale formula. One involving augmented triads and one with alternating minor 3rds and minor 2nd intervals. I wrote an article on the C Augmented Scale chords, but here are the 6 intervals and notes:

C Augmented Scale: C-E♭-E-G-G#-B = 1-m3-M3-P5-A5-M7 = 1-♭3-3-5-#5-7

Augmented scale formula (intervals): m3-m2-m3-m2

The scale can also be looked at as 2 augmented triads separated by a half-step or semitone. In the case of C augmented that would be a C+ (C-E-G#) & a B+ (B-D#-G). Hopefully, you noticed the enharmonic equivalents in the scale. Baug has a D#, not an E♭.

Every note in the scale builds an augmented triad: C+, E+, E♭\D#+, G+, G#\A♭+, and B+.

Other than the augmented triads, the only other augmented chord that can be builts is thee maj7#5 chord on the notes C, E & G#/A♭. Here are 2 A♭maj7#5 guitar chords:

Whole tone scale

The scale formula for the whole tone scale is in the name. It is a 6-note scale where each note is separated by a whole tone. Here are the intervals and notes for the C whole tone scale:

C Whole Tone scale: 1-M2-M3-A4-A5-m7 = 1-9-3-#11-#5-♭7 = C-D-E-F#-G# and B♭.

Some websites will notate the last note as A# but I think it is better as B♭.

Every scale degree builds the same chord types. On C the possible augmented chords are C+, C7#5, C9#5 and C7#5#11 (or C7♭5♭13). Here are 2 C+ chords. The asterisk (*) on the 1st chord means it can be played at the 1st, 5th & 9th frets, and for the 2nd chord can be played at the 8th, 4th & 12th frets.

Augmented modes from the Harmonic minor scale

There is one straight-up augmented mode from the harmonic minor scale plus 2 other modes that can build augmented chords due to the #5/♭13 interval.

Here are the 3rd, 5th and 7th modes from the A harmonic minor scale:

A Harmonic minor = A-B-C-D-E-F-G#

C Ionian #5 mode = C-D-E-F-G#-A-B = 1-M2-M3-P4-A5-M6-M7 = 1-9-3-4-#5-6-7

This is technically the only augmented mode from the harmonic minor scale. You can build a C+ and a Cmaj7#5 chord.

E Phrygian Dominant = E-F-G#-A-B-C-D = 1-m2-M3-P4-P5-m6-m7 = 1-♭9-3-11-5-#5/♭13-♭7

You can choose to drop B the perfect 5th and replace it with C(B#) the augmented 5th. As a result, you can build the following augmented chords: E+, E7#5, and E7#5♭9. Any of those chords resolve nicely to A or Am.

G# Ultra Locrian = G#-A-B-C-D-E-F = 1-m2-m3-d4-d5-m6-d7 = 1-♭9-♭3-3-♭5-#5-♭♭7

The diminished 4th is actually the major 3rd and the minor 6th can double as the augmented 5th. The only augmented chord possible from this mode is the G#aug triad.

Here are 2 chord shapes for Cmaj7#5 and 2 for  E7#5♭9. The 1st Cmaj7#5 chord can be played at the 1st, 5th & 9th frets.

Augmented modes from the Melodic minor scale

Similar to the harmonic minor scale, the melodic minor has one “true” augmented mode and 2 additional augmented modes. The mode built on the 4th scale degree, the Lydian Dominant, does have an augmented 4th interval, but I’ll just be covering the 3 modes that build augmented triads. I’ll use A melodic minor again as the example:

A Melodic minor = A-B-C-D-E-F#-G#

C Lydian Augmented = C-D-E-F#-G#-A-B = 1-M2-M2-A4-A5-M6-M7 = 1-9-3-#11-#5-6-7

This mode builds a C+ triad and a Cmaj7#5 chord. You also have the #11 but a Cmaj7#5#11 isn’t really a chord since it equals a G#7alt chord (see below).

E Mixolydian ♭13 = E-F#-G#-A-B-C-D = 1-M2-M3-P4-P5-m6-m7 = 1-6-3-11-5-#5/♭13-♭7

You can build E+, E7#5 and E9#5 chords from this mode.

G# Super Locrian or G Altered = G#-A-B-C-D-E-F# – 1-m2-m3-d4-d5-m6-m7 = 1-♭9-♭3-#9-3-#11/♭5-#5/♭13-♭7

This is the altered scale so you get some nice chords. You can build the following augmented chords on G#: G#+, G#7#5, G#7#5♭9, and G#7#5#9. Here are 2 G#7alt augmented chords:

When to use augmented chords

Use the chord tendencies I mentioned above. I personally never use a maj7#5 chord (I don’t like the sound of it). Jazz guys prefer that chord though as a substitute for a maj7 chord.

The maj7#11 chord is a Lydian chord and is a great chord, so use it as a IV chord or as a substitute for a maj7 on the tonic (I) chord.

As for all the dominant 7th’s with a #5, #9 or #11, they work really good as V7 chords. But when you start throwing in the ♭9, #9 and/or the #11, you can also use it as a 7alt chord or a ♭5 substitute. For example, a G7 with a #5, ♭9, #9 or #11 resolves smoothly to C (P4), F#(♭5 sub), and A♭ (7alt/leading tone).

Final Thoughts

I think I covered every augmented interval, chord, scale and mode that you will see in music unless you go to some truly exotic scales. Some of these chords are only found in jazz tunes but you should give them a try. I like all the augmented chords with maybe an exception for the maj7#5.

When it comes to playing lead over augmented chords, then there may be some scales or modes above that you can add to your toolbox. Most of these chords rarely last longer than 1 measure, so I would just use an arpeggio lick. But for you scale junkies, you can get an outside sound by choosing a mode or scale that doesn’t match the chord progression.

Check out the Augmented Music page on Wikipedia for more on augmented sounds in music.

The post Augmented Intervals, Chords, Scales & Modes appeared first on Every Guitar Chord.

In this article, I cover the intervals in the 7#5b9 chord, the notes in the E7#5b9 chord, the chord’s resolution tendency and how, and when, to use the chord.

I have open and closed guitar chord voicings for the 7#5b9 chord in the key of E, as well as for a 7#5b9\#9 chord. Finally, I list 11 jazz standards that use the 7#5b9 chord.

The 7#5b9 altered chord

A dominant 9th chord has a perfect fifth and major 2nd, whereas the 7#5b9 chord has an augmented 5th and a diminished 9th. However, both the dominant 9th and 7#5b9 chords have a root note, major 3rd, and minor 7th (1-3-♭7) in common. Let’s compare both chords.

Dominant 9th chord intervals: root, major 3rd, perfect 5th, minor 7th = R-M3-P5-m7-M9 = 1-3-5-♭7-9

7#5b9 chord intervals: root, major 3rd, augmented 5th, minor 7th, diminished 9th = R-M3-A5-m7-d9 = 1-3-#5-♭7-♭9
Chord equivalent: 7#5b9 = m9♭5 on the ♭7, for example, E7#5b9 =Dm9b5
E7#5b9 chord tendency: this chord resolves best to A & E♭ but also to F and B.

I’m including a 7alt chord that is an augmented 7th with both the ♭9 & #9.

7#5♭9 / #9 chord intervals: root, major 3rd, augmented 5th, minor 7th, diminished 9th, augmented 9th = R-M3-A5-m7-d9-A9 = 1-3-#5-♭7-♭9-#9
Chord equivalent: 7#5♭9 / #9 = 13sus b9 on the #9, or E7#5♭9/#9 = G13sus b9
E7#5♭9 / #9 chord tendency: resolves best to A & E♭ but also to (check this out) F and B, G and C#, and A♭ & C.

* Note: The sharp nine for the note E is actually F##, however, I notate it as its enharmonic equivalent G.

Open and closed E7#5b9 & E7#5b9/#9 guitar chord shapes & tones

The E7#5b9 chord is built on the seventh scale degree of the F melodic minor scale. Here are the chord tones for the 2 E augmented 7th chords above:

E7#5b9 chord tones: E-G#-C-D-F where the G# is actually the ♭3 for the F minor triad A♭.

E7#5b9/#9 chord tones: E-G#-C-D-F-G

Here is a chord diagram of the symbols I use in my chord blocks:

 

 

 

Notes on the chord voicings:

7#5b9 closed chords:#1 & #2 sound great but #3 is really difficult to hold. And the 3 string pinky barre for #1 is tough to pull off when you first try it, but it isn’t that hard. Also, for #1 it’s easier to hold the chord if you add the optional note on the 5th string.

E7#5b9 chord: #’s 1 & 4 are my favorites, #2 is okay and #3 is ehhh.

E7#5b9/#9 chord: First off, the closed 7#5b9 / #9 chord looks difficult but it’s not that hard if you can pull off the 2 string pinky barre. For the 2 voicings in E, they both sound good and of course, there is another 3-string pinky barre for #2.

Songs that use a 7#5b9 chord

The 7#5b9 is a common jazz chord, one of the 7alt chords, so you most likely will only find the chord in jazz songs. Luckily, I have The Standards Real Book (E♭ Version) and I took a look at songs that I knew.

The chord is sometimes used as a V7 chord, but usually as a V \ V substitute or variation of that. I’ll make notes on how the chord is used in each song so that you can get an idea of how to use it in your songs.

Here are jazz standards that have a 7#5b9 chord (one has an E7#5b9 in it). The first set of songs are basic use of the chord. The last 2 songs have advanced chord substitutions.

Basic use of the chord as a V7 or diatonic V7 substitution

As Time Goes By by Herman Hupfield. The song from the movie Casablanca. It’s in the key of C major with an A7#5b9 > Dm7 (V \ ii).

Blues In The Night by Arlen & Mercer. Key of G major with the changes A7#5b9 > D7#5#9 > G6 (V \ V).

Days Of Wine & Roses by Mancini & Mercer. Key of D major with the change C#7#5b9 > F#m7 (V \ iii).

I Get A Kick Out Of You by Cole Porter. The song is in the key of C major with the chords A7#5b9 > D9 > G7#5b9 at the end of the verse.

I’m A Fool To Want You by Sinatra & Herron. This song is in C# minor with a G#7#5b9 coming before each C#m6 add9 chord. There is also a C#7#5b9 before an F#m6 add9 chord. The 1st change is a V7 > i and the second one is V \ iv.

Serenade In Blue by Warren & Gordon. It’s in the key of C major with the change A7#5b9 > D9 > G7#5b9 (V \ V \ V).

Stormy Weather by Arlen & Koehler. It’s in the key of E major with the change B7#5b9 > E6, so that is using the chord as a V7 chord.

Time After Time by Cahn & Styne. In the key of A major with the change F#7#5b9 > B9 > E9sus \ E7b9 at the end of the verse (V \ V \ V).

Time On My Hands by Youmans & Gordon. Key of D major with the change F#7#5b9 > B7#5b9-B7b9 > E9#11 > A13sus – that’s a lot of V of V subs!

Advanced use of the 7#5b9 chord

I Loves You Porgy by Gershwin & Heyward. It’s in the key of D major with a C#7#5b9 at the end of the verse. In the bridge section is the change E7#5b9 > E7b9 > G9b5 > F#7#5b9 > F9b5 > E7#5b9 > A9sus. Now that’s jazz!

‘Round Midnight by Thelonius Monk. The song is in E♭ with the change D7#5b9 > G7b5 > Am7b5 > D7#5b9 > G7b5 > Fm7. That’s not a harmony I would never come up with just to end to an Fm7 chord.

That’s a lot to take in if you ask me. My suggestion is to use the 7#5b9 chord as a V7 chord, V\V substitution or a bV \ V substitution. Or in other words, use an E7#5b9 chord to go to A major or minor, or before A7 > D major, or to E♭ major.

Final Thoughts

Give the E7#5b9 chord a try in some of your songs, or use the closed voicings for a different key.  As long as it sounds good, it is good!

If you like this chord then also take a look at my article G7#5#9 Guitar Chord for another augmented 7alt chord. Also, take a look at the Altered Chord page on Wikipedia to learn more about the chord.

The post E7#5b9: 10 Augmented Seventh Guitar Chord Shapes appeared first on Every Guitar Chord.

I cover the intervals in the chord, the scales where you can build the chord and the notes in a G7#5#9 chord. There are not a lot of chord shapes for a this augmented seventh chord. I have 4 closed guitar chord shapes and another 2 open shapes for a G7#5#9.

The G7#5#9 (or 7#5#9) chord in detail

The 7#5#9 is not the same as 7#9 chord, the chord a lot of rock guitarists associate with Jimi Hendrix. I love the open E7#9 in Foxey Lady which is actually an E7#9 without the 5th. You can’t easily play the 5th in that voicing unless you grab it with your thumb on the low E string.

You may have seen a 7#5 chord before or used it as a V7 chord in a blues tune. Think of the 7#5#9 as a combination of those 2 chords, or a 7#9 without the fifth combined with a 7#5. Here are the chord details:

G7#5#9 Chord tones: G – B – D# – F – A#
Chord intervals: R – M3 – A5 – m7 – A2 = 1 – 3 – #5 -♭7 – #9
Alternate names: 7#5(#9), 7alt, augmented dominant 7th sharp 9, 7aug5 sharp 9
Scales that build a 7#5#9: Melodic minor on the 7th degree, Major Bebop on the 3rd & Dorian Blues on the 2nd. The Dorian Blues scale is the 2nd mode of the Major Bebop scale.
Resolve tendency: G7#5#9 resolves nicely to the keys of G♭ \ F#, A♭, B♭, and C & E major and minor.

To understand how to use a 7#5#9 chord, the chord resolves to the major or minor version of its ♭9, ♭3\#9, 4th, 6th, and major 7th. That is a lot of options!

So use the chord in place of a dominant 7th chord built on the 5th scale degree. You can use it in a song that has a strong major scale feel or as the V7 chord in a blues tune.

Songs that use the 7#9 chord

Only jazz songs use a 7#5#9 chord. But you can look at the 7#5#9 chord as a combination of the 7#5 chord and a 7#9 chord without the 5th.

I have an article on the Whole Tone Scale and in the article, I mention a number of popular songs that use a 7#5 chord. Check that out for those examples.

Here are some popular songs that use a 7#9 chord:

Allman Brothers: In Memory of Elizabeth Reed
Beatles: Get Back, Helter Skelter, Tax Man
Grateful Dead: Till the Morning Comes
Jimi Hendrix: Foxey Lady, Purple Haze, Voodoo Child
Joni Mitchell: Chelsea Morning
Pink Floyd: Breathe
Police/Sting: Murder by Numbers
Stevie Ray Vaughan: Say What!
Steely Dan: Charlemagne

If you want to find a song that uses the 7#5#9 chord, then you’ll have to listen to some jazz tunes. Or if you have some jazz sheet music, look for the “7alt” symbol which stands for an altered 7th and is a dominant chord with an altered 5th and \ or an altered 9th.

Check out the Wikipedia page on altered chords. Or even better, check out the Altered Scale article on Matt Warnock ‘s guitar website.

Closed 7#5#9 and open G7#5#9 guitar chord shapes

I only have 6 chord shapes in total: 4 closed 7#5#9 chords and only 2 open G7#5#9 chords. Kind of weak to call 6 chords a “chord chart” but that is all I could find.

Here is a chord diagram of the symbols I use in my chord blocks:

Notes on the chord voicings:

CLOSED: #1 is THE classic voicing and probably the best one. You can hold #2 without using the thumb but it’s even harder. #3 is not bad but #4 is just ehhh.

OPEN: #1 is easier if you fret the F at the fret but it doesn’t sound as good as the harder to hold version with the G at the 3rd fret #2 only has 1 open string and it doesn’t sound that great. As a matter of fact, the closed voicings sound better than the open ones.

 

Try moving the closed voicings to V chords in keys you play, Try an E7#5#9 at the 7th for A blues or a B7#5#9 at the 2nd fret for E blues.

Since I have so few guitar chord shapes for the 7#5#9 chord, especially in G, here are 3 G7#5 and 3 G7#9 chord voicings.

G7#5: #1 is difficult to hold but you can opt to not play the G on the low E string to make it much easier to hold. #2 sounds good but #3 is ehhh, okay.

G7#9: I don’t like #2 but #’s 1 & 3 sound good.

 

Final Thoughts

If you are a songwriter then this is a nice chord to work into songs. If you are a rock or blues guitar player, substitute a 7#5#9 chord in place of the dom7 chord.

Try it yourself with a G7#5#9 and follow it with a C or Cmaj7 chord. I’m sure jazz players already know this chord.

If you don’t like the sound of the 7#5#9 chord, then try substituting it with a 7#5 or 7#9 chord. Have fun getting creative with the chords!

The post G7#5#9 Guitar Chord Chart: Finger Placement & How To Use appeared first on Every Guitar Chord.

I have guitar chord patterns for all the chords from a C augmented scale and discuss how to use the augmented chords in chord progressions.

Also, I list popular song examples that use some of the chord types so that you can see the practical application of the chords.

Augmented Scale & Augmented Chord Formula

There are two different ways to build the augmented scale. The augmented triad, on the other hand, is straight-forward. Let’s knock out the augmented triad chord formula first.

You can think of the augmented triad as a major chord with an augmented 5th degree (A5). It has a major third (M3) similar to the major chord but the 5th is raised one semitone. The augmented triad formula is:

1 – M3 – A5 or 1 – 3 – #5

The distance from the root note to the 3rd of the chord is a major 3rd, and the distance from the 3rd to the 5th is another major third. Some people describe the chord as 2 “stacked” major 3rds:

M3 + M3

Symbols used for the augmented chord \ triad are aug, +, +5, and #5. I use either aug or + for the augmented triad and #5 for all other augmented chords.

The augmented scale is a 6-note symmetrical scale. All that means is the scale has symmetry ascending and descending and that it divides the octave into repeated intervals.

Other examples of symmetrical scales are the whole tone scale and the diminished scale. Take a look at the Dolmetcsh Music Dictionary page on the augmented interval, augmented fifth and augmented scale for a more in-depth definition.

You can also build an augmented triad on the tonic note of the Bebop Major, Whole Tone, and Altered scales and on the 3rd degree of the Harmonic & Melodic minor scales.

Augmented scale formula

The first formula for the augmented scale is to add the notes of two augmented triads that are separated by a half step. For example, B+ has the notes B-D#-G and C+ has the notes C-E-G#. That leads to the following:

C augmented scale: C – D#\E♭ – E – G – G#\A♭ – B

Another formula that can be used to build the augmented scale is to add notes in the pattern of a minor 3rd (m3) and a minor 2nd (m2). If you look at the notes in the C augmented scale above, you will see that they follow that pattern.

C to E♭ = m3

E♭ \ D# to E = m2

E to G = m3

G to G# \ Ab = m2

G# to B = m3

B to C = m2

So it’s up to you which formula you use to build the augmented scale.

Also, the augmented scale, like other symmetrical scales, repeats at regular intervals – a major 3rd for the augmented scale.

That means that any augmented scale has the same notes as augmented scales whose tonic is a major third away. For example, the C augmented scale has the same notes as the E augmented scale (M3 from C) and the G# augmented scales (M3 from E).

Therefore, there are only four augmented scales: C, D♭, D & E♭. To better understand the augmented scale, try building the D♭, D & E♭ augmented scales and use both formulas listed above at least once.

Chords built from the C augmented scale

The number of chord types you can build on each scale degree is limited, and there is a symmetry of chord types for notes separated by a major third.

There is also the strange chord construction options that occur in other scales like the altered scale. You have a choice of different 3rds and 5ths. The chord types built from the augmented scale are:

Maj & maj7, aug & maj7#5, min & m-maj7

The notes from the C+ triad (C, E, G#) are the notes that can have a major or minor third, and a perfect or augmented 5th. The B+ triad (B, D#, G) can only build augmented triads.

To summarize, the 6 notes of the augmented scale all build augmented triads. The tonic note of the scale, C in this case, also builds a major and minor triad. All three C triads also have a major 7th interval available to add to the triad. This gives the following chords:

C, Cmaj7
Cm, Cm-maj7
C+, Cmaj7#5

Those same chord types can be built on the notes E and G#\A♭. A song example that uses chords from the augmented scale is “Giant Steps” by John Coltrane where he uses the 3 major triads in a B augmented scale to create 3 key centers.

You can also build a m-maj7 chord on the tonic of the harmonic and melodic minor scales, and on the 6th degree of the harmonic minor scale. The maj7#5 can also be built on the tonic of the major bebop scale and the 3rd degree of the harmonic and melodic minor scales.

Check out the table below to see all of the chords that are from the C augmented scale. The columns Equal1 thru Equal3 are for chords that have the same notes as the Chord Name column.

Note: When it came to A♭ vs. G#, I chose G# for the minor chords but A♭ for the major and augmented chords. The exception in the table above is for the equal chords of C+ and E+. I did the same for E♭+ vs. D#+ because E♭ is the III+ chord in the C Harmonic & Melodic minor scales.

Guitar chords from the C augmented scale

I’m only including guitar chords for the augmented triad, maj7#5 & m-maj7 chords. I’ll have the major, maj7 and minor chord shapes in articles associated with those chords and in their appropriate categories.

But I am including a minor chord here – the m-maj7 chord. And that is because it contains an augmented triad within it and it equals a 6+.

Now I know some theory guys are rolling their eyes at the mention of a 6th chord with a sharp five. I know – I don’t consider it a chord either but I did see a 6+ chord in a U2 song. They probably should have notated it as an Am-maj7\C instead of C6+ (or whatever the chord letter was).

NOTES:

• #3 Maj7#5 chord 1s difficult to hold. #2 sounds the best to me.
• The #6 Maj7#5 chord shape: I prefer the voicing with the root on high E as opposed to low E.
• In general, I prefer 4 or more notes in an augmented triad, not 3-note versions.
• Also, each note of an augmented triad can be the root of the chord, so I did not include every possible fret position. Just move the chord shapes a major 3rd and analyze the notes if it is an open augmented chord.

Closed and bar augmented guitar chords from the augmented scale

Best closed voicings: #1 & 3 for Augmented triad, #1 & 4 for maj7#5, and every m-maj7 voicing except # 3 & #7.

 

 

 

 

Open augmented guitar chords of the augmented scale

Best open voicings: both Caug, #1 Eaug, and #1 Em-maj7.

 

 

 

When to use augmented chords (+, maj7#5, m-maj7)

The augmented triad creates tension when it is played and there is an augmented triad within the maj7#5 and the minor-major 7th chord. That tension needs resolution similar to the tritone in a V7 chord, though the resolution is not as strong.

Take a look at my article on The Triads in Music to read more about the augmented triad.

Augmented Triad

The augmented triad can be used in place of the V chord. For example, a C augmented triad (C+) chord will resolve nicely to an F major chord. I think it is great as the final V chord in a blues turnaround.

A Caug chord will also resolve to an A minor triad, vi for C. C augmented is the ♭III+ chord in both A harmonic and melodic minor scales.

Actually, each note in the augmented triad can act as a major 7th leading tone, so a C+ chord (C-E-G#) will resolve to the major AND minor chord one half-step above each of the chord tones:

C+ to F or Fm (E as the leading tone)

C+ to A or Am (G# as the leading tone)

C+ to C# \ D♭ or C#m \ D♭m (C as the leading tone)

Quite a versatile chord. If you are writing a song, using an augmented triad would be great for a section with a change of key to Vi major or ♭II major or minor. The last one being quite radical. So try using a C+ chord for a key change to A major or D♭ major or minor.

You could also play just the augmented 5th interval with surrounding intervals. An example is the song “Kashmir” by Led Zeppelin:

D5 – D#5 – D6 – D7, the interval notes being D-A, D-A#, D-B, D-C. The D6 & D7 are not chords.

Here are a lot of examples that use an augmented triad:

Beatles: Fixin’ A Hole, Michele, Real Love, I Want You, I’m Happy Just To Dance With You, All My Loving, I Am The Walrus, Oh Darling, Dear Prudence
Grateful Dead: Casey Jones
Allman Brothers: Stormy Monday (their version)
Stevie Wonder: You Are The Sunshine Of My Life, If You Really Love Me
David Bowie: Never Let Me Down
Beach Boys: Orange Crate Art, Friends, Warmth Of The Sun
Sting: Mad About You
The Who: Quadrophenia, Dr. Jimmy
Led Zeppelin: The Rain Song, Stairway to Heaven
Pink Floyd: Gunner’s Dream
Merle Travis: Cannon Ball Stomp
Ricky Skaggs: Life is Too Long (To Live Like This)
Silverman’s Folk Song Encyclopedia: The Rose of Tralee page 162 Vol. I, O Canada page 286 Vol. II

Augmented major seventh chord (maj7#5)

This augmented chord can act as a substitution for a regular major 7th to create tension. It also resolves to a IV, vi or VI chord as in Cmaj7#5 to F, Am or A.

I couldn’t find any popular song examples, but jazz guys use this chord a lot so I’m sure there are a lot of jazz songs with this chord in them.

The maj7#5 chord has a slightly nasty sound to me. I just don’t like it, therefore it will never be a chord in my guitar chord box. Let me know if you saw this chord in any song that is not a jazz tune.

Minor major 7th chord (m-maj7)

I’m not a fan of this chord either – sounds like dirt (if dirt made a sound).

It’s common in jazz as a tonic minor chord to create tension. Whatever. In popular music, it’s common to use it chromatically as in this E minor example:

Em – Em-maj7 – Em7 – Em6 or without the minor 6th and back to the Am triad.

Here are some song examples that use a m-maj7 chord:

Coldplay: Speed of Sound
Stevie Wonder: I Just Called to Say I Love You
Beach Boys: When I Grow Up
Beatles: Boys, Michele, Something, Real Love, Cry Baby Cry, Baby You Can Drive My Car
Pink Floyd: Us and Them
The Who: Quadrophenia
Silverman’s Folk Song Encyclopedia, Vol. II: Wanderin’ page 13, Let Us Break Bread Together page 102

Final thoughts

I’m not a fan of the augmented scale for soloing or the maj7#5 chord. For augmented triads, I would just use a whole tome scale riff. It’s an interesting scale, but I’m not a jazz player.

So I don’t use the augmented scale, but I do like augmented triads and augmented guitar chords that have a ♭7 in them. Check my article on Chords From Scales for a list of augmented 7th chords as well as my total list of 77 chord types.

“It’s your mind, it’s your creativity, it’s your guitar, and most importantly, it’s your music – do what you want to do (just make sure it sounds good)”. ~ quote by Kernix

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