Augmented Chords

LET’S DEMYSTIFY SOME NAMING CONVENTIONS AND OFFERS UP SOME CHORDS TO BRING A LITTLE TENSION TO YOUR LICKS.

According to the Oxford English Dictionary, augmented is defined as “having been made greater in size or value”. And in terms of a musical note, this translates as “denoting or containing an interval which is one semitone greater than the corresponding major or perfect interval”. In this case, we’ll talk about intervals contained within the context of a chord.

Admittedly chord-naming conventions are something of a minefield, with a lot of names taking a simplistic approach, presuming certain details are ‘understood’. For example, a C7 chord contains a flat seventh (Bb) and a C9 chord adds a D to an existing seventh (b7th!) chord...

The good news is these augmented chords are based purely on the premise of a raised/sharpened/augmented

5th, no other intervals have been altered. You will find this is the case in all but the most pedantic of chord charts – often written as ‘Aug’, ‘Aug 5’ or ‘+5’. In practice, these chords have a suspended ‘tension’ effect, often used in ‘50s-style rock ’n’ roll, film soundtracks and other modern orchestral works. Hope you enjoy these – and don’t get too tense!

EXAMPLE #1

This E Augmented raises the fifth (B) to C on both the fifth and second strings. The open low E string gives us a satisfyingly dark root note. The effect is ominous but taken out of isolation and combined with an E major or E6 chord you can begin to see how it is not so scary really!

EXAMPLE #2

Just the one raised fifth (G to G#) in this C Augmented chord. However, the effect is still profound – though perhaps slightly brighter overall due to the less complex harmony on the lower strings. No open strings also means this shape can be moved anywhere on the fretboard, using the fifth string as the root.

EXAMPLE #3

Moving up to the top four strings, this D Augmented is another shade brighter/less ominous but the ‘tension and release’ potential is still there. Try moving the augmented fifth up another semitone to make a Bm/D, or down to the second fret to revert to a non-augmented fifth and hear how the character changes.

EXAMPLE #4

Another version of E Augmented, this is the same shape as Example #2 containing only one raised fifth. By comparing it with Example #1, you’ll hear how the choice of voicing is a significant part of composition. Either will work technically but you will almost certainly prefer one over the other in a given context.

EXAMPLE #5

This is the darkest voicing of all – partly due to being played on the lower strings, though I’ve compensated by playing this B Augmented higher up the fretboard.

This diagonal line of notes is another movable shape. And like all of these, it can be useful as a reference point when playing augmented single-note melodies/solos.