Augmented<\/strong> literally means “to make larger.”<\/em><\/p>\n And I suppose you’re familiar with what a triad<\/strong> is from our past lesson<\/a>. But to review, it is a chord of three notes. <\/p>\n Our focus today is on the augmented triad.<\/p>\n “So what is an augmented triad?” <\/em><\/p>\n There are so many definitions and approaches to the augmented triad<\/em> out there. However, I’ll define an augmented triad<\/b> as a major triad with an augmented fifth<\/span>. <\/p>\n Using the C major triad (aka – “the world’s most popular triad”): Read more about major triads<\/a> in my previous post.<\/p>\n To get started with our study on augmented triads, let’s cross-examine it. [thrive_leads id=’11645′]<\/p>\n A good way to get started is by showing you what stuff<\/em> the augmented triad is made of.<\/p>\n If C augmented (consisting of C, E, and G\u266f<\/b><\/span>): C-E<\/strong> is a major third<\/strong> interval because it consists of an interval between the first and the third scale step of the C major scale.<\/p>\n In the C major scale: (By itself, three letter names is not the only thing that makes this interval a major third. But when it comes to the major scale, the interval between the 1st and 3rd tone will always be major).<\/p>\n Another interval in the augmented triad is the augmented fifth,<\/strong> which is a half step higher than the regular fifth.<\/p>\n Using the C major scale as a reference, the regular fifth (aka – “perfect fifth”) is G: Raising this perfect fifth (G) by a half step: If you stack these intervals together, you’ll have a major third: From what we’ve covered so far, it’s clear that knowledge of the major third and augmented fifth intervals in all keys is invaluable.<\/p>\n The intervallic makeup of the augmented triad is:<\/p>\n Knowledge of all major thirds will equip you with 50% of the intervals you need to create the augmented triad.<\/p>\n “How do I learn major thirds?<\/em>“<\/strong><\/p>\n You can learn the major third interval in all keys by knowing the major scales. Using any given major scale, you need to highlight the first and third scale steps to form the major third interval.<\/p>\n Therefore, if you don\u2019t know major scales, it’s best to review and learn major scales<\/a> in order to get the most out of this post. This is because, in music, it is scales that produce intervals and from intervals, you get chords. In other words, scales are musical grandparents<\/em> to chords.<\/p>\n If you don\u2019t know scales, understanding certain things about chords will be difficult.<\/p>\n So, it is from our scales<\/a> that we\u2019ll be able to produce the intervals that make up the augmented triad. <\/p>\n Now that we’re familiar with the intervals that make up the augmented triad, let’s look at two important harmonic properties of the augmented triad. <\/p>\n The two harmonic properties include quality<\/em> and stability<\/em>. The quality of a triad is determined by the third while stability is determined by the fifth.<\/p>\n Quality.<\/strong> A chord can be major or minor in quality and this depends on the quality of third it has. From what we covered earlier, the quality of the augmented triad is major and this is because of the interval between the first and third scale tones (major third).<\/p>\n Stability.<\/strong> The stability of a chord depends on the quality of fifth it has. Chords that have a perfect fifth are stable while other qualities of fifths are said to be unstable. Remember what I told you in a previous post on dissonant intervals<\/a> – that all augmented and diminished intervals are dissonant. Therefore, the augmented triad is unstable because its fifth is augmented.<\/p>\n Owing to the instability of the augmented triad, it is not an everyday average<\/em> chord. However, it is important for you to know augmented triads because certain seventh chords like A min-maj7: Now that the augmented triad is fully dissected, let’s look at the chord formation of augmented triads. We’ll be considering two simple ways of forming the augmented triad.<\/p>\n Formation #1 – Stacking Two Major Thirds<\/strong><\/p>\n At this point, it is appropriate to say that augmented triads are symmetrical.<\/p>\n Symmetrical triads are triads that can be broken down into two EQUAL intervals. A closer look at the augmented triad (from a different perspective) will reveal two major third intervals:<\/p>\n C-E: Pretty much, if you are familiar with major third intervals in all the keys (like I recommended earlier), you can create an augmented triad with this alternative method.<\/p>\n Here’s how…<\/strong><\/p>\n A major third from C is E: In turn, another major third from E is G\u266f<\/span>: Put together, C-E and E-G\u266f<\/span> produces the C augmented triad: This can be applied to any other key.<\/p>\n In the key of D:<\/p>\n …a major third from D is F\u266f<\/span>: …a major third from F\u266f<\/span> is A\u266f:<\/span> Stacking these two major third intervals produces the D augmented triad: If we go on and on, we\u2019ll have all other augmented triads on the keyboard.<\/p>\n Lets move on to chord formation of the augmented triad using the major triad.<\/p>\n Formation #2 – From the Major Triad<\/strong><\/p>\n As we covered in the beginning of this lesson, it’s possible to derive the augmented triad from the major triad<\/a>.<\/p>\n Using any known major triad, you can easily form an augmented triad by raising the fifth chord tone by a semitone (half step).<\/p>\n If the fifth of the C major triad: This sounds a lot easier but will depend on your knowledge of all the major triads<\/a> on the keyboard.<\/p>\n Let’s take one more example.<\/p>\n E major triad is given as E-G\u266f-<\/span>B: Take Note…<\/strong><\/p>\n While raising the fifth, I am using sharp(\u266f<\/span>). This is because, in music, sharp is used to raise the pitch level of a note.<\/p>\n It’s easy to spell E augmented: This is not appropriate because the augmented fifth of E is B\u266f<\/span><\/strong> and not C.<\/p>\n Considering that B\u266f<\/span> and C are enharmonic equivalents<\/a>, both spellings will sound alike when played. However, it is important for me to emphasize the importance of spelling correctly<\/a>.<\/p>\n Whenever you augment a major triad, the base<\/strong> letters should not change<\/strong>. If they do (like in the case of E augmented, from “B” to “C” instead of the correct “B#”), you are spelling the chord wrong<\/em>.<\/p>\n Let’s start winding down by looking at the relationship between augmented triads on the keyboard.<\/p>\n There are 12 augmented triads on the keyboard, one for every major key. Below are all the augmented triads in all 12 keys.<\/p>\n C augmented: D\u266d<\/span> augmented: E\u266d<\/span> augmented: E augmented: F augmented: G\u266d<\/span> augmented: G augmented: A\u266d<\/span> augmented: A augmented: B\u266d<\/span> augmented: B augmented: There are twelve of them. However, these augmented triads are related<\/strong>.<\/p>\n The inversion of a given augmented triad will show you other augmented triads that are related to it. Using C augmented as an example, inverting (rearranging) C augmented: …will produce: This chord is related to E augmented. The only thing that’s different is its spelling (“E G# C” vs “E G# B#”) but they make the same sound.<\/p>\n Inverting again will produce: Summarily…<\/p>\n It shouldn’t escape your notice that the C augmented triad containing C<\/strong>, E<\/strong> and G<\/strong>\u266f<\/span>, is related to C augmented, E augmented and G\u266f<\/span> augmented.<\/p>\n That means, you can look at the notes in an augmented chord and know that they each share the same tones in their individual chords. That is, when inverted, C augmented makes the same sound as E augmented, which makes the same sound as G# augmented. A “3 for 1” special!<\/p>\n In the same vein, D\u266d<\/span> augmented: F augmented: A augmented: Again, the spelling is obviously different but if you closed your eyes, these chords would all sound the same because they contain the same tones.<\/p>\n As you can see, a knowledge of D\u266d<\/span> augmented triad will also put F and A augmented triads within your grasp.<\/p>\n Consider the following augmented triad relationships:<\/p>\n C augmented is built off C<\/strong>, E<\/strong>, and G<\/strong>\u266f and is related to E and G\u266f augmented triads:<\/span> C augmented in the first octave, E augmented in the second octave, and G\u266f<\/span> augmented in the third octave.<\/p>\n <\/p>\n D\u266d<\/span> augmented is built off D\u266d<\/span><\/strong>, F<\/strong>, and A<\/strong> and is related to F and A augmented triads:<\/span> D\u266d<\/span> augmented in the first octave, F augmented in the second octave, and A<\/span> augmented in the third octave.<\/p>\n <\/p>\n D augmented is built off D<\/strong>, F\u266f<\/span><\/strong>, and A\u266f<\/span><\/strong> and is related to F\u266f and A\u266f augmented triads:<\/span> D augmented in the first octave, F\u266f<\/span> augmented in the second octave, and A\u266f<\/span> augmented in the third octave.<\/p>\n <\/p>\n E\u266d<\/span> augmented is built off E\u266d<\/span><\/strong>, G<\/strong>, and B<\/strong> and is related to G and B augmented triads:<\/span> E\u266d<\/span> augmented in the first octave, G augmented in the second octave, and B augmented in the third octave.<\/p>\n If we repeat the same procedure on E, we’ll produce something related to the G# and C augmented triads we encountered earlier. We’ve circled back around.<\/p>\n E augmented is built off E<\/span><\/strong>, G\u266f<\/span><\/strong>, and B\u266f<\/span> <\/strong>(enharmonically C) and is related to G\u266f and B\u266f (C) augmented triads:<\/span> E augmented in the first octave, G\u266f<\/span> augmented in the second octave, and B\u266f<\/span> augmented in the third octave.<\/p>\n That means, there are really only 4 unique augmented triads<\/strong> to learn. Learn C augmented, Db augmented, D augmented, and Eb augmented and you have all that it takes to master augmented triads.<\/div>\n Augmented chords are not as common as major triads. <\/p>\n But, as you progress in chord studies, you\u2019ll begin to find out that augmented triads have their place in some bigger chords and progressions.<\/p>\n Take for example, the A minor-major 7th chord: If its root is played an octave lower: There are a handful of such examples in music.<\/p>\n So until next time, thank you so much and I will be talking to you about minor triads in the next lesson of this series. Until then.<\/p>\n P.S.<\/p>\n Don’t leave this page without submitting your email for our new free guide, “A Quick Reference on Augmented Triads.”<\/strong><\/p>\n You’ll be unfortunately walking away from the following if you do:<\/p>\n [thrive_leads id=’11645′]<\/p>\n","protected":false},"excerpt":{"rendered":" Welcome to week 2 of our “16 Chords In 16 Weeks” series. This lesson focuses on augmented triads. Enjoy as we break this chord down and give you everything you need to know to understand it in all 12 keys.<\/p>\n","protected":false},"author":9,"featured_media":22982,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,9],"tags":[1919,1943,1942],"class_list":["post-10902","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-piano","tag-16-chords-in-16-weeks","tag-augmented-chord","tag-augmented-triad","post-wrapper","thrv_wrapper"],"yoast_head":"\n
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\n…we can form an augmented triad by raising (or augmenting) its fifth (G) to produce:
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\n…an augmented triad (C E G#). It’s called an augmented triad because of the augmented fifth interval<\/em> it contains. With any known major triad, you can form an augmented triad by raising its fifth.<\/p>\nDissecting the Augmented Triad<\/h2>\n
Intervallic Components<\/h3>\n
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\n…is broken down into intervals, this will produce C-E:
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\n…and C-G\u266f<\/b><\/span>,
\n<\/p>\n
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\n…the distance (aka – “interval”) between the first (C) and third (E) scale tones is a major third. This is because from C to E:
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\n…encompasses three letter names – C, D, and E.<\/p>\n
\n<\/p>\n
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\n…produces an augmented (fifth) interval. C-G\u266f<\/span> is an augmented fifth.<\/p>\n
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\n…plus an augmented fifth:
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\n…which gives us an augmented triad:
\n<\/p>\n
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![\"Augmented](\"https:\/\/www.hearandplay.com\/main\/wp-content\/uploads\/2016\/01\/meta-chart-1024x683.jpeg\")
<\/li>\n<\/ul>\nHarmonic Properties<\/h3>\n
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\n…contain augmented triads. Also, you’ll hear it played on the fifth degree in traditional gospel songs and in bigger extended chords that transition to the fourth degree. It certainly has its uses.<\/p>\nChord Formation of Augmented Triads<\/h2>\n
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\n…is a major third and in turn, E-G\u266f<\/span>:
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\n…is also a major third interval.<\/p>\n
\n<\/p>\n
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\n<\/p>\n
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\n…is raised by a semitone (half step), this will produce C augmented triad:
\n<\/p>\n
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\nRaising the fifth from B to B\u266f:<\/span>
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\n…will produce an E augmented triad (which is spelled: E G\u266f<\/span> B\u266f).<\/span> We can go on and on until we exhaust all the augmented triads on the piano.<\/p>\n
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\n…as E G\u266f<\/span> C:
\n<\/p>\n
The Relationship Between Augmented Triads<\/h2>\n
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\nD augmented:
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\n* The use of G instead of F\u266f\u266f<\/span> is regretted, due to the limitations of this graphic tool. Remember, the base letters should never change so if B major has an “F#,” then B augmented has an “F##” (but we’re using G here, informally).[\/thrive_lead_lock]<\/p>\n
\n<\/p>\n
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\n…an augmented triad related to G\u266f<\/span> augmented (or Ab augmented, Ab C E).<\/p>\n
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\n…containing D\u266d,<\/span> F and A notes, if inverted, will yield F and A augmented triads:<\/p>\n
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Final Words<\/h2>\n
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\n…this will produce a C augmented triad:
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\n…over A on the bass:
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