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Haven't got the CD to hand, but doesn't the Beatles' "Girl" start with one?Originally Posted by Paulo
IIRC, middle break of Maiden's 'Rime of the Ancient Mariner' uses an Augmented triad bassline.Originally Posted by Paulo
you said th 5th went up gsharp not aOriginally Posted by Paulo
be forever banished to bad theory land
dont get this confused with no theory land........Originally Posted by jimi'sdiciple
ur not meeting hendrix .
Did you mean for C aug to be spelt:-Originally Posted by Paulo
...says the man who said D Dorian had an F# in it....
Isn't there a major triad to augmented triad riff in "You Ain't Seen Nothin' Yet" (who is that, BTO?).
Can't play? Try an altered tuning!
Oh bollocks yes. ops:Originally Posted by Jason Morris
Since I'm going a bit mad for cromaticism, I'm learning to appreciate their function. I'm just "lidderally" back from church and the music leaders were learning a new choon that had the progression:
G / / / | G+ / / / | Em7 / / / |Csus2 / / /|
...which I played using these voicings
As you may be able to see, the augmented 5th lead nicely into the Em7.
That'd be the same function as the Buddy Holly tune mentioned above in except in the key of G.Originally Posted by JonathanS
I love these chords.
Because of the way they are constructed they are great for adding tension to your guitar playing [specifically as a substitute for a run of the mill dominant 7th chord in a turnaround].
What you have to remember is that they are much more usable when you are the only guitarist in the band or you have a small set-up.
I used to play in a blues band where we had just drums, bass, a singer and me on lead guitar. When the bass was playing a B note for the turnaround in a 12 bar progression in E, I could play a whole range of chords over that B note and it wouldn't matter as I was the only other melodic instrument.
I often went between 7#5, plain old 7th or our good old augmented chord.
Once that band took on a second guitarist I had to tone that stuff down, once we took on a piano player it was all finished as practically every single chord change had to be argued, debated and agreed on.
In short: substitute them in for 7ths in blues turnarounds if you can - but beware of them in bigger bands.
Spreading the Honkytonk message one UK Country Club at a time