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Author
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Topic: Augmented chords ?
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Bob Hoffnar
Member From: Brooklyn, NY
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posted 27 November 2005 11:18 PM
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I'm feeling the desire for more crafty chords these days so do any of you guys have a favorite augmented chord licks you use in standard country type tunes ?Thanks, Bob |
Dave White
Member From: Fullerton, California USA
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posted 28 November 2005 12:21 AM
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Bob--Right now I'm lucky to find the cord that plugs the guitar into the amp (just kidding). Seriously, this is a great topic and I will be watching this with interest. Also, how about diminished chords? (George Harrison called them the "naughty" chords}. Kinda baffling me to find those on an E9 tuned S10, but I'm workin' on it. (Newbie playing for one week now). |
Mark Fasbender
Member From: Salt Lake City,Utah
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posted 28 November 2005 12:46 AM
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Any basic grip, then raise your E's a half step. This chord will repeat itself every 3 frets. Any note in the chord can be the root as well. Have fun.
(edited to say)
Sorry,But that would be a diminished chord. My apologies.  Theyre fun too.------------------
Got Twang ? Mark [This message was edited by Mark Fasbender on 28 November 2005 at 12:47 AM.] [This message was edited by Mark Fasbender on 29 November 2005 at 01:53 AM.]
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John Bechtel
Member From: Nashville, Tennessee,U.S.A.
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posted 28 November 2005 01:03 AM
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(A) & (B)-Pedals + (F~Lever) on strings 3,(4),5,6,(8) & 10 = A aug. Also 1/2-(A)-Pedal on the same strings = E aug. 3,4,(5),6,8 & (10).------------------
“Big John” Bechtel
Coming Soon: New Burgundy D–10 Derby (w/6 & 8),
’65 Re-Issue Fender Twin–Reverb Custom™ 15” Eminence.
Current Equipment |
Mike Perlowin
Member From: Los Angeles CA
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posted 28 November 2005 01:51 AM
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I tend to use them in place of a 7th chord. 1-1aug-4, or 5-5aug-1. |
Dan Beller-McKenna
Member From: Durham, New Hampshire, USA
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posted 28 November 2005 03:22 AM
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Mark,won't raising you E's a half step create a diminished chord (all minor thirds) rather than an augmented chord (all major thirds)? I have been working on the Bob Wills song "Going Away Party" which has a nice passing augmented chord in the middle of the verse ("...I feel too low to get too high..."): C(I) chord at the eighth fret to C augmented (I+) at the seventh fret with F-A-B engaged) to D minor at the sixth fret (with the E lever engaged). Dan
[This message was edited by Dan Beller-McKenna on 28 November 2005 at 03:23 AM.] [This message was edited by Dan Beller-McKenna on 28 November 2005 at 08:12 AM.] |
basilh
Member From: United Kingdom
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posted 28 November 2005 03:50 AM
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My understanding is that an augmented is similar to a flat fifth, repeating every FOUR frets..------------------
quote:
Steel players do it without fretting
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David Mason
Member From: Cambridge, MD, USA
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posted 28 November 2005 04:08 AM
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I know a good deal more about three-chord rock guitar than three-chord country steel, but to me the flat 3's and 5's of a diminished chord lead into other stuff a lot more naturally than the sharped 5's of an augmented chord? You might be able to find a chapter on the technically-"approved" uses of augmented chords in a classical or jazz theory course, or do the tried-and-true homegrown method of making up a zillion exercises, working through them to see which ones sound musical, figuring out why they do, etc. Keep you off the streetcorners for a few weeks, that....I know that Pat Martino had a style of improvising based around augmented positions, if you google "Pat Martino augmented" a lot of stuff comes up. I'm not sure if it's the primary crowbar in his toolbox, or if it's more of a hand-positioning device for standard guitar or a full-blown musical theory. You could ask Buddy E., he was influenced by Martino. http://www.justjazz.com/discussion-hypermail/Feb-97/00000237.htm [This message was edited by David Mason on 28 November 2005 at 04:28 AM.] |
John Bechtel
Member From: Nashville, Tennessee,U.S.A.
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posted 28 November 2005 06:04 AM
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An aug. chord is a sharp 5th. of the chord. (C-E-G#) A dim. chord is a flatted 3rd., flatted 5th, plus the b7. (C-Eb-Gb-Bb) = every 4-frets.------------------
“Big John” Bechtel
Coming Soon: New Burgundy D–10 Derby (w/6 & 8),
’65 Re-Issue Fender Twin–Reverb Custom™ 15” Eminence.
Current Equipment |
Lee Baucum
Member From: McAllen, Texas (Extreme South) - The Final Frontier
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posted 28 November 2005 06:56 AM
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The E to F lever can be used to create both augmented and diminished chords.With the A+B pedals down it creates an augmented chord. With the A+B pedals up it creates a diminished chord. (At least it has some of the notes of a diminished chord and will work in most cases.) ------------------
Lee, from South Texas
Down On The Rio Grande Mullen U-12, Evans FET-500, Fender Steel King |
Larry Bell
Member From: Englewood, Florida
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posted 28 November 2005 07:20 AM
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A diminished triad is
1 3b 5bA diminished 7th chord is
1 3b 5b 7bb
Cdim7 would be
C Eb Gb A (actually Bbb)
it is a stack of three consecutive minor 3rds C Eb Gb Bb is Cmi7b5 -- also called a half-diminished For the augmented chords, 1 3 5# is an augmented triad. Often, the b7 is also added, forming an aug7 chord, spelled
1 3 5# 7b Listen to Emmons' arrangement of 'Danny Boy' for several nice usage ideas. ------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps
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Herb Steiner
Member From: Cedar Valley, Travis County TX
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posted 28 November 2005 07:23 AM
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edited because the previous post beat me to it. 
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Herb's Steel Guitar Pages
Texas Steel Guitar Association
[This message was edited by Herb Steiner on 28 November 2005 at 07:24 AM.]
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Jim Cohen
Member From: Philadelphia, PA
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posted 28 November 2005 07:29 AM
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Bob is a savvy enough musician to know how to play augmented chords. He wants some licks to play over them. One thing I do, Bob (all too often I might add), is to play whole tone scale fragments over the augmented chord. Since the chord (at least in a country context) typically only lasts from 2 to 4 beats, you'll be outta there and back inside before they know what hit them. |
Ricky Davis
Moderator From: Spring, Texas USA
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posted 28 November 2005 08:20 AM
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Moved to Tablature section.
[This message was edited by Ricky Davis on 29 November 2005 at 09:11 AM.] |
David L. Donald
Member From: Koh Samui Island, Thailand
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posted 28 November 2005 09:22 AM
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On the V chord before you go back to the verse I chord,
hit an aug for the 3 and 4th beats.
Really nice to resolve to the I (one) like this.[This message was edited by David L. Donald on 30 November 2005 at 06:08 AM.] |
John Steele
Member From: Renfrew, Ontario, Canada
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posted 28 November 2005 09:33 AM
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Bob,
I'd go for the whole tone scale. It always raises eyebrows.
Monk Lives.....
-John |
Al Marcus
Member From: Cedar Springs,MI USA
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posted 28 November 2005 10:07 AM
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Lots of good music thoughts, expressed here....al ------------------
My Website..... www.cmedic.net/~almarcus/
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Joe Drivdahl
Member From: Glendive, Montana, USA
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posted 28 November 2005 10:34 AM
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Anyone ever just flat the 5th without flatting the 3rd? I don't know if thats called a flat 5th or what, but it can sometimes create a slightly different sound. Maybe it gives you a whole new chord like C-E-F# could also be a ??? in some other key? Joe[This message was edited by Joe Drivdahl on 28 November 2005 at 10:39 AM.] |
Roy Ayres
Member From: Starke, Florida, USA
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posted 28 November 2005 10:36 AM
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Jim Cohen: That's one of my favorite ways to use the augmented chord --ala Joaquin Murphey.BTW, years ago a young steel player asked me if I would show him how to make "augdiminished" chords. Try answering that one diplomatically.
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Visit my Web Site at RoysFootprints.com
Browse my Photo Album and be sure to sign my Guest Book. |
Jim Cohen
Member From: Philadelphia, PA
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posted 28 November 2005 10:40 AM
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Roy, I think that's the same thing as the "demented" chord. |
Jeff Lampert
Member From: queens, new york city
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posted 28 November 2005 03:08 PM
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As has been pointed out a couple of times, whole tone scale runs are a good way to go. Look for them on strings that are separated by a a whole tone (eg. strings 6,7,8 on E9). Use pedals as needed. Plenty of places on both E9 and C6.------------------
Jeff's Jazz
[This message was edited by Jeff Lampert on 28 November 2005 at 03:09 PM.] |
Mark Fasbender
Member From: Salt Lake City,Utah
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posted 29 November 2005 01:49 AM
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Dan....... Yes I was refering to diminished chords. My bad. For some reason the posters question got turned around in my mind. Must have been distracted. I will edit that reply right now . Thanks.
In looking back,I must have been replying to the second post on this topic. Good deal, I thought I had gone MAD.
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Got Twang ?
Mark [This message was edited by Mark Fasbender on 29 November 2005 at 02:06 AM.]
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Mark Fasbender
Member From: Salt Lake City,Utah
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posted 29 November 2005 01:54 AM
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Double post. Not my day I guess.
[This message was edited by Mark Fasbender on 29 November 2005 at 02:02 AM.] |
Charlie McDonald
Member From: Lubbock, Texas, USA
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posted 29 November 2005 04:54 AM
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quote:
Anyone ever just flat the 5th without flatting the 3rd?
I think of it as a suspended note, a passing tone that resolves into the fifth.
quote:
Roy, I think that's the same thing as the "demented" chord.
I triad it, but I didn't like it. |
Olli Haavisto
Member From: Jarvenpaa,Finland
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posted 29 November 2005 05:20 AM
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In my opinion a b5 chord is not a suspension but a highly usefull "legitimate" chord for example as a substitution for II dominant 7. Like substituting Cb5 for D7th.------------------
Olli Haavisto,
Finland
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Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 29 November 2005 07:46 AM
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I sometimes use a wholetone scale against an augmented. Sounds cool. Lower your B strings to A# and your 2nd string to D. All of the notes are now in one of the two wholetone scales. If it sounds way wrong, move the bar one fret in either direction. |
Earnest Bovine
Member From: Los Angeles CA USA
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posted 29 November 2005 07:49 AM
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quote:
If it sounds way wrong, move the bar one fret in either direction.
... and repeat as needed. It worked for Wille Nelson. |
John Steele
Member From: Renfrew, Ontario, Canada
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posted 29 November 2005 01:43 PM
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Joe,
Lots of people flatten the fifth (or raise the fourth) without flattening the third. For example (as used in another thread) the second chord of "Take the A Train" (D7b5 or D7#11) uses the A Melodic Minor scale...which contains an F#. However, when you flatten the third (or more properly, raise the 9th) you are looking at an Altered Chord. In the case of D Alt, it comes from the Eb Melodic Minor scale.
This chord also contains a b13th. -John |
Paddy Long
Member From: Christchurch, New Zealand
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posted 29 November 2005 05:29 PM
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Well after trying those Augmented chords out for a couple of weeks, I went back to my George L's !
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