augmented chords

Is the term "augmented chords" new for you? Have you scoped out the augmented triads page? No worries either way, the theory of augmented chords is pretty straightforward, artistic use of it's color is the trick. To "augment" something generally implies to enlarge, enhance, perhaps reinforce it etc. In music we augment musical intervals, the intervals that are said to be perfect, based on their emergence from the overtone series. So what are we "augmenting" in terms of chords? Augmented chords are such named because one or more of the intervals, created between the root and other pitches within the chord, have been augmented, i.e., enlarged by half step, usually to non-diatonic pitches. Commonly augmented intervals are the perfect fourth, fifth and the eleventh spans, and are always originated from either a major triad, a major tonic chord type or a dominant seventh chord type.

So why are the augmented chords potentially important for the creative artist. Though folk, rock and country players use this augmented color rather sparingly, we do see it a bit more in pop / gospel music and the blues, especially in the minor environment, from which it is perhaps originally derived. It is mainly in the various styles of jazz music that these colors call home. So why would a player potentially need this color? Well, for a number of reasons. First perhaps in that the augmented dominant chords and colors are all over jazz literature. And oftentimes the more emotionally and theoretically complex the music gets, the more we see the augmented / whole tone colors within the aural canvas. They are simply difficult to master and when musically added to diatonic chord progressions, can truly heighten even the most mundane of harmonic motions. For the emerging jazz artist, coming to terms with all of the augmented / whole tone qualities is oftentimes a nice, solid artistic leap, which once internalized, can bring other artistic elements into greater focus. Second in that we can easily support and create melodic ideas created by the whole tone scale, that hybrid group of pitches of unusual color. The ability for the whole tone scale to suspend the properties of tonal gravity are nearly instantaneous, giving the creative artist who can control these colors tremendous additional leeway in how they tell and climax their story.

Thirdly, in that both the augmented chords and the wholetone scale provide yet another way to disguise tonal intent. Which depending on your artistic directions, can be very important considerations and a difficult obstacle to be successfully and artistically overcome. We can quickly get outside via the augmented / wholetone colors, and of course once we're out, the real trick is in getting back inside. And as with most of the musical components that can suspend tonal gravity, the augmented chord can also accelerate the harmonic and melodic motion in the music towards a resting point or resolution. Does it all revolve around the creation of musical tension and it's release? Are the more "in tune" artists masters of this tension / resolution artistic component? Could be. Fourth, that we can use the augmented color to shade potential tonic functioning chords, creating a very cool and different major tonal environment to compositionally and improvisationally explore within. A creative environment perhaps initially characterized by a reduced degree of tonal gravity between the elements, thus a more "dream like" musical atmosphere to hang in.

One "hazard" with some of the augmented hues is that they are nearly impossible to disguise. Once the ear has the sound locked in, they are for the most part aurally unmistakable, regardless of the musical setting we find them. Thus, they can tire both players and listeners alike rather quickly. So, we get a double edged sort of component. Strength in the color to quickly suspend, weakness in it's obviousness in doing so, a rather delicate balance if you will. What we get from the literature is a sense that while the augmented color is a totally essential component on every players palette, it is used sparingly and with a lot of love, savored for the spots in the music where it's effect is essential to the statement, and not to be flaunted or overused. However we shake it down, this augmented / whole tone color is potentially one powerful, non-diatonic way to spice up common diatonic motion within the major / relative minor tonalities.

So, where does this augmented chordal color organically come from within the tonal organization of the equal tempered system? Well, in the major tonality mostly from the whole tone scale. Within the minor tonality, from either the harmonic minor or melodic minor scale. Hip to these cool variations of the natural minor scale? Click to review these minor colors, otherwise let's explore these augmented chord type topics individually.

Oh, lest we forget our third main chord type. Are there any common augmented chords with the minor 7 / Two chord type? No, not really. Really, no augmented options with Two? You're kidding? Nope. Perhaps in theoretical analysis, but in practical applications, not even one remotely common choice comes to mind. Diminished? Yes, we commonly diminish various aspects of the Two chord. Augmented aspects of Two? Nope.

"To avoid criticism do nothing, say nothing, be nothing." Elbert Hubbard