| Author |
Topic: Augmented chords ? |
Bob Hoffnar
From:
Austin, Tx
|
Posted 27 Nov 2005 11:18 pm |
|
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
From:
Fullerton, California USA
|
Posted 28 Nov 2005 12:21 am
|
|
| 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
|
Posted 28 Nov 2005 12:46 am
|
|
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.] |
|
|
|
John Bechtel
From:
Nashville, Tennessee, R.I.P.
|
Posted 28 Nov 2005 1:03 am
|
|
(A) & (B)-Pedals + (F~Lever) on strings 3,(4),5,6,( & 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 & ,
’65 Re-Issue Fender Twin–Reverb Custom™ 15” Eminence.
Current Equipment |
|
|
|
Mike Perlowin
From:
Los Angeles CA
|
Posted 28 Nov 2005 1:51 am
|
|
I tend to use them in place of a 7th chord.
1-1aug-4, or 5-5aug-1. |
|
|
|
Dan Beller-McKenna
From:
Durham, New Hampshire, USA
|
Posted 28 Nov 2005 3:22 am
|
|
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
From:
United Kingdom
|
Posted 28 Nov 2005 3:50 am
|
|
My understanding is that an augmented is similar to a flat fifth, repeating every FOUR frets..
------------------
| Quote: |
| Steel players do it without fretting |
 
|
|
|
|
David Mason
From:
Cambridge, MD, USA
|
Posted 28 Nov 2005 4:08 am
|
|
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
From:
Nashville, Tennessee, R.I.P.
|
Posted 28 Nov 2005 6:04 am
|
|
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 & ,
’65 Re-Issue Fender Twin–Reverb Custom™ 15” Eminence.
Current Equipment |
|
|
|
Lee Baucum
From:
McAllen, Texas (Extreme South) The Final Frontier
|
Posted 28 Nov 2005 6:56 am
|
|
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
From:
Englewood, Florida
|
Posted 28 Nov 2005 7:20 am
|
|
A diminished triad is
1 3b 5b
A 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
|
|
|
|
Herb Steiner
From:
Briarcliff TX 78669, pop. 2,064
|
|
|
|
Jim Cohen
From:
Philadelphia, PA
|
Posted 28 Nov 2005 7:29 am
|
|
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
From:
Bertram, Texas USA
|
Posted 28 Nov 2005 8:20 am
|
|
Moved to Tablature section.
[This message was edited by Ricky Davis on 29 November 2005 at 09:11 AM.] |
|
|
|
David L. Donald
From:
Koh Samui Island, Thailand
|
Posted 28 Nov 2005 9:22 am
|
|
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 (deceased)
From:
Renfrew, Ontario, Canada
|
Posted 28 Nov 2005 9:33 am
|
|
Bob,
I'd go for the whole tone scale. It always raises eyebrows.
Monk Lives.....
-John |
|
|
|
Al Marcus
From:
Cedar Springs,MI USA (deceased)
|
Posted 28 Nov 2005 10:07 am
|
|
Lots of good music thoughts, expressed here....al
------------------
My Website..... www.cmedic.net/~almarcus/
|
|
|
|
Joe Drivdahl
From:
Montana, USA
|
Posted 28 Nov 2005 10:34 am
|
|
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
From:
Riverview, Florida, USA, R.I.P.
|
Posted 28 Nov 2005 10:36 am
|
|
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.
------------------
Visit my Web Site at RoysFootprints.com
Browse my Photo Album and be sure to sign my Guest Book.
|
|
|
|
Jim Cohen
From:
Philadelphia, PA
|
Posted 28 Nov 2005 10:40 am
|
|
| Roy, I think that's the same thing as the "demented" chord. |
|
|
|
Jeff Lampert
From:
queens, new york city
|
Posted 28 Nov 2005 3:08 pm
|
|
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.
------------------
[url=http://www.mightyfinemusic.com/jeff's_jazz.htm]Jeff's Jazz[/url]
[This message was edited by Jeff Lampert on 28 November 2005 at 03:09 PM.] |
|
|
|
Mark Fasbender
|
|
|
|
Mark Fasbender
|
Posted 29 Nov 2005 1:54 am
|
|
Double post. Not my day I guess.
[This message was edited by Mark Fasbender on 29 November 2005 at 02:02 AM.] |
|
|
|
Charlie McDonald
From:
out of the blue
|
Posted 29 Nov 2005 4:54 am
|
|
| 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
From:
Jarvenpaa,Finland
|
Posted 29 Nov 2005 5:20 am
|
|
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
|
|
|
|
