Members ke2 Posted April 7, 2003 Members Share Posted April 7, 2003 Link to comment Share on other sites More sharing options...
Members WattsUrizen Posted April 7, 2003 Members Share Posted April 7, 2003 Handy reference. Link to comment Share on other sites More sharing options...
Members xiaoken Posted April 7, 2003 Members Share Posted April 7, 2003 Might I ask what book that is? Link to comment Share on other sites More sharing options...
Members ke2 Posted April 7, 2003 Author Members Share Posted April 7, 2003 Of course:) It is from an old Guitar magazine....From 98-99. I found it interesting, and pretty easily explained, so I thought I`d shre:) Link to comment Share on other sites More sharing options...
Members mukuzi Posted April 7, 2003 Members Share Posted April 7, 2003 i dont know about that.. a seventh chord with a sharp 5....? the sharp five would be a flat 13 otherwise the scail would have no sixth so the chord should read 7b13 the augmented 7th in the second picture sounds a little closer but augmented scail has a major seven..... hey... but what you gonna do Link to comment Share on other sites More sharing options...
Members ninjaaron Posted April 7, 2003 Members Share Posted April 7, 2003 Originally posted by skatan i dont know about that..a seventh chord with a sharp 5....?the sharp five would be a flat 13 otherwise the scail would have no sixthso the chord should read 7b13the augmented 7th in the second picture sounds a little closer but augmented scail has a major seven.....hey... but what you gonna do no no, if it was called a flat 13 it would imply that there was a five in the chord. since there are no diatonic scales with a major third and and a minor six, it would be called a sharp 5, if it was in root possition (which doesn't really make a lick of difference with augmented chords really). It doesn't really matter what you call the note, so long as it is eight half half steps above the root. they are just trying to comunicate. Link to comment Share on other sites More sharing options...
Members mukuzi Posted April 7, 2003 Members Share Posted April 7, 2003 Originally posted by ninjaaron no no, if it was called a flat 13 it would imply that there was a five in the chord. since there are no diatonic scales with a major third and and a minor six, it would be called a sharp 5, if it was in root possition (which doesn't really make a lick of difference with augmented chords really). It doesn't really matter what you call the note, so long as it is eight half half steps above the root. they are just trying to comunicate. hey thanks for the theory heads up but the implyed 5 could be flat so the scail might read 1 2 3 4 b5 b13 7 root otherwise it might read 1 2 3 #4 #5 6 Maj7 know what i mean? Link to comment Share on other sites More sharing options...
Members ninjaaron Posted April 7, 2003 Members Share Posted April 7, 2003 Originally posted by skatan hey thanks for the theory heads up but the implyed 5 could be flatso the scail might read 1 2 3 4 b5 b13 7 roototherwise it might read 1 2 3 #4 #5 6 Maj7know what i mean? well, I guess the most common scale to use over an agmented chord is probably the whole tone scale, but with augmented chords, especialy and Aug Maj7 no diatonic scales will ever fit quite right, so you just kinda play it how ever you want. I really have never seen that chord used that I can think of, but if I was trying to play over it I would probably just use an altered whole tone scale of sorts (with a #7). you could also use combined tonality, and play in a major or lydian scale, and transition to the same scale with a root on the tritone. when you break it down there is no 'right' scale to use over that chord, it depends on the context. for stuff like that, I just trust my ears, and because it probably sounds pretty disonant anyway you could play just about anything over it. just be concinse of were the tone center is going before you do anything to rash, do something that will effectivly lead to the next tone center, because when you are dealing with augmented chords it can be pretty unstable, so the melody can really be the only thing to tell you were it is going. that is why whole tone scales are the safest, because they don't really solve anything either. Link to comment Share on other sites More sharing options...
Members mukuzi Posted April 7, 2003 Members Share Posted April 7, 2003 Originally posted by ninjaaron well, I guess the most common scale to use over an agmented chord is probably the whole tone scale, i agree.i think in terms of less names and less chordsonly voicings and if your carefull with your names then it all simplifies itself quite nicly.i have reciently come in contact with the sharp five major seventh varity and i am convinced it is an altered voicing.i will have anothe look at it tonitethanks again for the convo. Link to comment Share on other sites More sharing options...
Members lazaraga Posted April 8, 2003 Members Share Posted April 8, 2003 Originally posted by skatan i agree.i think in terms of less names and less chordsonly voicings and if your carefull with your names then it all simplifies itself quite nicly.i have reciently come in contact with the sharp five major seventh varity and i am convinced it is an altered voicing.i will have anothe look at it tonitethanks again for the convo. a sharp 5 maj 7 chord can also be thought of as a slash chordexample C+maj7= E/Cit is an E triad with C in the bass. peace Link to comment Share on other sites More sharing options...
Members mukuzi Posted April 8, 2003 Members Share Posted April 8, 2003 cool thanks for that:D Link to comment Share on other sites More sharing options...
Members mukuzi Posted April 8, 2003 Members Share Posted April 8, 2003 i know it fits into my symetrical panmelodic theory somwhere Link to comment Share on other sites More sharing options...
Recommended Posts
Archived
This topic is now archived and is closed to further replies.