Music Theory

[seeker]

Alrighty,

I went through a spell of learning music theory a while back. Keys, diatonic scales, chord positions (I-VII), etc.

One thing just hit me; unless I'm reading things wrong, the straight augmented (1 3 5#) chords are not in any keys. What gives?

[Uncle Thor's Hamer]

My recollection of the subject matter is somewhat diminished with age and disuse.

But there is nothing wrong with using notes not strictly in the key of the song, and it is even fun to experiment with adding in passing notes or making up chords with such notes. Solos have such outlier notes all the time, not to mention semitones from bends.

On top of all that, there are a bazillion different keys. We in modern western society recognize the usual major and minor keys, yet there are all kinds of exceptions, such as the blues scale, harmonic minor, all the modes, and weird things like Russian Gypsy and Ancient Persian (I made those names up). Your augmented chord might fit right into any number of alternative scales.

[seeker]

My recollection of the subject matter is somewhat diminished with age and disuse.

But there is nothing wrong with using notes not strictly in the key of the song, and it is even fun to experiment with adding in passing notes or making up chords with such notes. Solos have such outlier notes all the time, not to mention semitones from bends.

On top of all that, there are a bazillion different keys. We in modern western society recognize the usual major and minor keys, yet there are all kinds of exceptions, such as the blues scale, harmonic minor, all the modes, and weird things like Russian Gypsy and Ancient Persian (I made those names up). Your augmented chord might fit right into any number of alternative scales.

Caveat: yes, this is a diatonic-based (along with 7 modes) discussion. Augmented is such a central, core thingie, just surprised me. Really like the harmonic minor myself whenever I can work it in.

Passing notes are one thing, just never thought of a chord as a passing chord. But heh, there you have it.

[geoff_hartwell]

You only harmonized the scale according to the Major scale.

Write it out for Melodic minor and Harmonic minor too.

Augmented chords happen diatonically when you harmonize the Harmonic Minor scale, for example.

It's the III+ chord.

An Augmented chord is also useful as a V chord over a blues (usually minor) -

think "Stormy Monday".

Geoff

[geoff_hartwell]

Okay folks-

Here's how to harmonize a scale into triads.

In C MAJOR the relative minor and 6th, or AEOLIAN mode, is A NATRUAL MINOR spelled:

A B C D E F G

A HARMONIC MINOR is spelled:

A B C D E F G#

This makes the parent scale and it's derivative modes ALL different than the major scale and it's modes.

When you harmonize A MARMONIC MINOR in 3rds you get these chords:

E . . . . F . . . . G# . . . . A . . . . B . . . . C . . . . D

C . . . . D . . . . E . . . . F . . . . G#. . . . A . . . . B

A . . . . B . . . . C . . . . D . . . . E . . . . F . . . . G#

i . . . . ii (dim) . III+ . . iv . . . .V. . . . VI . . . . vii (dim)

(ignore the dots, they're just for spacing - view these as columns of arpeggios)

The first triad is spelled A C E and is a minor chord (hence the lower case roman numeral). The second chord is spelled B D F and is diminished (usually you'd have a little circle to indicate that). Please notice that the third chord is spelled C E G# ascending. C+ or Caug. Compare this to the harmonization of the natural minor, or Aeolian, scale. Notice the chord qualities have changed where the note has changed from G to G#.

Repeat this process with the Melodic minor, then do both using 7th chords.

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Now - for those who just want to use an Augmented chord, play a minor blues with an

augmented chord substituted for the last V chord in the turnaround. Great "ear-bender".

Example:

||Am . . . | Dm . . . | Am . . . | Am . . . |

|Dm . . . | . . . . | Am . . . | . . . |

|Em . . . | Dm . . . |Am . . . | E+ . . . ||

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Good Luck and Have Fun!

Geoff

[specialk]

Thanks for the examples Geoff! It helps it all make sense.

[gorch]

Theory is where it all comes together. I try to catch up with it myself. It is a l o n g road though.

[seeker]

Thanks Geoff, a bunchl!

Gotta cogitate on this one for a bit. So, are there equivalent "Key of" X for harmonic and melodic minor? For ex, A natural minor is in the key of C (major).

[geoff_hartwell]

Thanks Geoff, a bunch!

Gotta cogitate on this one for a bit. So, are there equivalent "Key of" X for harmonic and melodic minor? For ex, A natural minor is in the key of C (major).

A Natural Minor is exactly the same notes as C Major, but starting from the sixth note, and is therefore the sixth MODE of C major. (C D E F G A B is the same information as A B C D E F G - no accidentals {sharps or flats}) That relationship is the same for every key.

For example, in G Major if you play the scale starting from the 6th note 'E' you get E natural minor, or E Aeolian. These are known as RELATIVE major and minor because they have the same notes or 'musical DNA' but have very different qualities, just like all of our relatives. (This concept is most easily learned using pentatonic scales - the 1st A Minor box is the same exact notes as the 1st C Major box, and you start by resolving your phrases on the note 'A' if you're in A minor, and the note 'C' if you're in C major.)

Since HARMONIC MINOR has an altered tone (a raised or sharped 7th note) compared to the original scale (Natural minor) it is no longer the same notes as Nat Min or it's original Major. By creating this "new scale" you also get seven more modes (one for each starting note in the scale) and chord harmonizations.

If you alter it further to get MELODIC MINOR (in A - A B C D E F# G#) you get yet ANOTHER scale that is harmonized differently and seven more modes.

You'll find that several of the 'exotic' scales are actually modes of Harmonic Minor or Melodic Minor. For example Phrygian Dominant - the 5th mode of Harmonic minor, etc.

So learn your Major scale modes and all of their accompanying triads and seventh chords, then do the same for HARMONIC MINOR and MELODIC MINOR.

Let the party begin!

Geoff

[Michael_]

Nice thread, great info.

[tomteriffic]

Thanks, Geoff. It's very helpful to see it all cut to the chase and laid out on one page.

One question though: On your first post up there, I was wondering. Is a Marmonic Minor a variant of the Mormon Minor or the Moron Minor?

[geoff_hartwell]

Thanks, Geoff. It's very helpful to see it all cut to the chase and laid out on one page.

One question though: On your first post up there, I was wondering. Is a Marmonic Minor a variant of the Mormon Minor or the Moron Minor?

They're all demented.

Geoff

[tbabinec]

Geoff, Great explanations. For a "signature" use of the augmented chord, I think of the intro chord in The Beatles' "Oh Darling."

[Thundernotes]

So what modes do you get from a Morris Minor?

[seeker]

Thanks Geoff!

Do understand the Major-oriented structure; the "Key" in relation to the notes in that key. The seven modes are just the same notes, with a different starting point. Gives you a different feel wrt where you start. Major mode scale (ionian, mixo, etc) >> Major third, Minor mode scale ( dorian, etc.) >> Minor 3rd.

In Harmonic and Melodic Minor, how do you designate the equivalent of a "Key"? C Maj gets you CDEFGAB, but also leads to knowing that D Dorian fits within that framework.

In your example, A Harmonic Minor is A C D E F G#. Would you always refer to that sequence of notes as A Harmonic Minor? And how about the associated modes?

[gorch]

Thanks Geoff!

Do understand the Major-oriented structure; the "Key" in relation to the notes in that key. The seven modes are just the same notes, with a different starting point. Gives you a different feel wrt where you start. Major mode scale (ionian, mixo, etc) >> Major third, Minor mode scale ( dorian, etc.) >> Minor 3rd.

In Harmonic and Melodic Minor, how do you designate the equivalent of a "Key"? C Maj gets you CDEFGAB, but also leads to knowing that D Dorian fits within that framework.

In your example, A Harmonic Minor is A C D E F G#. Would you always refer to that sequence of notes as A Harmonic Minor? And how about the associated modes?

As far as I have come, the method remains the same. Therefore, the modes are:

A C D E F G#

C D E F G# A

D E F G# A C

E F G# A C D

F G# A C D E

G# A C D E F

I'm not quite sure the modes have the same name as in major. I'd say no.

[seeker]

Crickee, my bad. Left out the B.

A B C D E F G#

And to clarify, when I referred to A Harmonic minor as that sequence of notes, was referrring to relative sequence (meaning also "B C D E F G# A" and "C D E F G# A B", etc) and not absolute.

[geoff_hartwell]

Modal theory is another thread I think, but here we are

A B C D E F G# is always referred to as A Harmonic minor. This is the formula of intervals, which is easily transposable (write it out in several different keys - what are the notes for D harmonic minor? Bb? F#? etc).

Each of it's modes has a different name because they're each a different scale. Just as the Major modes have individual names (Ionian, Dorian, Phrygian, etc) all of the modes of Harmonic and Melodic have names as well.

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You asked, "In Harmonic and Melodic Minor, how do you designate the equivalent of a "Key"? C Maj gets you CDEFGAB, but also leads to knowing that D Dorian fits within that framework."

Don't confuse what key you're actually in with the surrounding modes. For example the Pentatonic scale has five notes and therefore 5 positions all in the same key (5 fingerings/patterns/shapes) these are actually modes of the same scale, but you're using them to move around the neck but all in the same key. With modes you have more fingering options of the same scale, but remember where you are harmonically. If you're playing a song in C major, you can use the fingering for D Dorian to extend your range, but remember to resolve on notes that outline C (all the chord tones) for stability. Start by including the notes from adjacent modal fingerings but thinking in C. For example - set up a loop that's a simple C chord groove, start phrasing using your C major fingering. Then keep going using a B Locrian shape but CONTINUING to resolve melodically. Repeat for D Dorian. Repeat for the rest of the modes. Where are the 'C's? Where are the rest of the E's and G's?

It's also just as important to see how they are derived, and to understand each of the modes as their own key, or tonal area. For example, A natural minor and C major are relative, but think in the key you're in - if the chord progression dictates Am and Dm, you wouldn't add a step BACK to C.

So think of modes as derived from a "parent" scale, and also as great expansion of fingering options.

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A great modal example would be "Oye Como Va" which in this case will be Am and D now (that's D major). This is a prototypical Dorian example.

Write out the notes for A Dorian, then the chord arpeggios to see why this is a minor 'one' chord (i) and a major 'four' chord (IV).

A Dorian is just as much it's own universe as A major or any other mode.

Geoff