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    pickquack
    The document discusses the augmented scale, which is a six-note musical scale with intervals of three semitones followed by one semitone. It can also be viewed as two augmented triads. The document provides diagrams of the notes in the augmented scale and explores playing solos using the augmented scale over specific chord progressions, noting how the scale can be transposed while still working. It includes a solo example and instructions for practicing lines from the solo.

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    Img 20180429 0004

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    pickquack
    200 views1 page
    The document discusses the augmented scale, which is a six-note musical scale with intervals of three semitones followed by one semitone. It can also be viewed as two augmented triads. The document provides diagrams of the notes in the augmented scale and explores playing solos using the augmented scale over specific chord progressions, noting how the scale can be transposed while still working. It includes a solo example and instructions for practicing lines from the solo.

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    The document discusses the augmented scale, which is a six-note musical scale with intervals of three semitones followed by one semitone. It can also be viewed as two augmented triads. The document provides diagrams of the notes in the augmented scale and explores playing solos using the augmented scale over specific chord progressions, noting how the scale can be transposed while still working. It includes a solo example and instructions for practicing lines from the solo.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    200 views1 page

    Img 20180429 0004

    Uploaded by

    pickquack
    The document discusses the augmented scale, which is a six-note musical scale with intervals of three semitones followed by one semitone. It can also be viewed as two augmented triads. The document provides diagrams of the notes in the augmented scale and explores playing solos using the augmented scale over specific chord progressions, noting how the scale can be transposed while still working. It includes a solo example and instructions for practicing lines from the solo.

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    © All Rights Reserved
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    of 1

    ON THE CD

    o Ttr.!CXS 42-45;

    Ugmented sdoing*
    Our creative master Shaun Baxter continies his mini series
    dedicated to playing over this unique chord, by looking
    more closely at the augmented scale itself ..

    It would be a good idea to Iefer back to issues

    u",tkha[+.,r,rft]ffijirffi
    ':o*Ir.{4ls:roNEx,ifi:i[,:f,
    *ffi:" r3B and 139 ofcT for more information and
    musical ideas using the six and nine-note
    augmelted scales.
    jlf i,;y.o,.0.-,"u'
    This month's solo study compdses ten lines
    SE'h#, f rhe ausnented isa six-nole scale that can be played over the lastbarofa 12 bar
    q;'ir "fl}fu#
    ro i{;' ri:fl ,[]:ffiiif i.Jil??".
    blues (see Diagrarn 6). Each line is actuallytwo
    bars long, because it is designed to resolve to t]le

    ,"€rTP#
    A7 chod at tle start ofthe following choms (See
    Diagram 7). The notes over the A7 chord will be

    - il:s"E**rffiT,ffi*i"",: derived lrom any ofthe following:


    sedes in which an interrd ofthree ATtAC#EG
    semi-tones is followed by an interval 135b7
    ofone semi-tone: see Diagram z). A mixolydlan: A I C* D E F* G
    Altemativell., Diagram 3 slrows 123456b7
    how this scale can be viewed as an A minor blues scaler A C D Eb E G
    augmented triad with a chromatic rb34b55b7
    'approach' note a semi-tone below
    ,,/ each note; however, it cal also be
    Onthe G'f CD, you will hear me demonstrate
    all ten lines in succession (as a continuous solo
    viewed as compising two study) over a backing track that simply repeats
    augmerted triads (in this case, E+ tle E augmented and A7 chords; however. there
    and Drr +), because, when using this is also a backing hack devoted to tle full p-bar
    scale, it's possible to use the D#+ blues sequerce. This will allow you to isolate and (
    triad independently ofthe E+. focus on just one line at a time, and to pmctise
    There is also a nine-uote version iDsefting it illto the appropriate place within the
    ofthe scale. This can can be seen as blues sequence. To keep your mind clear at this
    following a repeated tone, semitone, stage, I suggest that youjust irse A minor
    semitone'pattem (Dia$am 4); but it pentatonic or A minor blues scale for all the 8r
    can also be seen as cornprising three other chords in the progression, saving your
    augmented triads: in this case, E+, augmented surprise for the 6na1 bar..
    D#+ and D+ (see diagram S). Finally, remember that, becau-se ofthe
    When using the nine-note augmented scale, augmented scale's s,,rnmetrical nature, all lines

    OO"O Advanced
    the results tend to be darker and more
    'geometric'-sounding than when using the
    can be shifted up or down in interrralsofa m.rjor
    third (four fiets) ard will still work over the E
    six-note version. augmeDted chord (t}le notes tiat rcsolve over
    El Augmented sca le lnowledge
    But beware: because tlerc are oDly three of theAT chord will have to be changed), II
    TEMPO: 120 bpm ,iAugmented 5oloing the twelve notes in music not being used within
    CD:TRACKS42-45 g 0verall tonal range tle nine-note augmented scale, things could
    easily descend into a formless clromatic mess. GETTHETONE
    TECHNICALLY, AN AUGMENIED triad Instead, you will get more convincing rcsult-s if
    comprise. consecutive majorthirds. splittinS you i[terpret it ir a more harmonic or'vertica]'
    each octave into thrce equal parts: way, wherebyvarious arpeggio sounds are
    conscquently, it is the musical equivalent ofan exhacted fiom within the scale.
    equilaleral b'iangle (see Diagram r). Knowing The s,'rnmetrical quality ofboth gpes of $e'l
    how to play over tlis chord is impotaDt
    because it represe[ts one ofthe four primary
    augmented scale means that they are ripe for ail
    kinds ofthematic development, because any
    Foryour infothis month! solowas recorded
    using my FenderRelic Stratthrough a Laney
    plfl
    tonal colour:s in Westem music (along with
    majoq minor and diminished).
    musical idea can be shi{led up or down iu
    intervals of a major third (or four frets) and lr.ill
    1mW valve head with the settings above, but of ts tl
    last montl we looked at ways ofusing a still wolk over the same augme ted chord.
    course anytone would doforthese exercises.
    it nr
    TMC( [EC0[0 .Allan lloldsuorth u one of the only guitarists that I tnox uho usss tho augtmnted scat6 ultt any &gm€ of rugutartty.
    the
    ll0wovoli i[ general, saxophono players tend t0 be moro advanced rvlth thoir sing€ note soloing, because thatrs all they
    do, So as rvoll as
    toni
    listonlng t0 albums by Holdswolth, check out the incredlblo,rohll G0ltrane and ilichaelBrrckor to hoar augmonted idoas
    h action. Wesl
    72 GuitarTechniques October 2009

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