Appendix VI - Lesson 18
Augmented 7ths
Notes to Appendix VI - Lesson 18
I believe we would be safe in saying that the 7+5 chord, the 9+5 chord and the 7+5b9 chords are much more common in today's music than the augmented triads we discussed in Lesson 17. Mickey doesn't mention this, but instead states that we can get still another sound. Simply put, they are augmented triad with the addition of extra color tones, 7ths, 9ths, and b9's
The most common 7+5, 9+5, and 7+5b9 forms are old friends that I have no doubt will be recognized immediately. I've given two four-note examples of each. The examples that occur in on the top four strings are probably the more common. The forms on the inside four strings are just as useful. They may have been used without the realization of what they really are:
Additional Augmented Forms
Listen to the MIDI playback of the TEF and then play them on your guitar. Also note that if you move these forms either 6 frets up or down, you have tri-tone substitutes that may also have a G name. Chord 1 at the 9th fret is a G9-5, chord 2 at the 2nd fret is also a G9-5. Chord 3 at the 9th fret is also G9+5, just as Chord 4 at the 2nd fret is. Chord 5 is a G9 at the 9th fret, as is Chord 6 at the 2nd fret.
Additionally, the forms 5 and 6 of the above can be called F min7b5 and an Ab min6.
Is your head spinning after all those names? Mine is and I wrote it!
About the exercises: Mickey says that rather than write out a bunch of cycles, let's just analyze a few examples that he used in Lesson 11. Remember that's the lesson I complained Mickey used material from future lessons? Well, the future is now! Before we get started, correct your book as Mickey is calling Ex. 43 as Ex. 44 and Ex. 44 as Ex. 45. I have copied the exercise from Lesson 11 and renamed it with callouts above the measures to be studied.
Exercise 43, taken from Appendix VI, Lesson 11, Exercise 26 "There Are Such Things", has two variations: At Measure 3 (counting the pickup measure), A. uses a 7+5 chord cycle as a transition between a I Maj9 progressing to a ii7 (C Maj9 to D min7). The B. variation of that measure uses an ascending augmented chord cycle as this transition.
Exercise 44 also has two variations. At Measures 16 and 17 (counting the pickup measure), A., Mickey is uses a descending 7+5 cycle in whole-tone steps. The B. variation is again augmented triads ascending in whole-tone steps.
Mickey ends the lesson by mentioning that often the guitarist arranger may use chords that aren't related to what may appear in the original sheet music. These chords give added interest with their color.
Additional Exercises: Take any tune that you may be comfortable playing and look for areas where these cycles may be substituted.
Hope you're cycling your fun!!