Raising the fifth tone of the G major triad: C augmented triad: Although the augmented triad is not as common as major and minor triads, its melody and harmony has a special place in jazz improvisation.<\/p>\n Let’s explore the scales that are compatible with the augmented scale.<\/p>\n The harmonic minor scale has seven modes. Using the A harmonic minor scale (as a reference): The first mode (A to A): The third mode of the harmonic minor scale (which is C to C in this case): “Here’s How It Is Formed…”<\/em><\/p>\n The third mode of the harmonic minor scale is also known as the “Ionian #5” and this is because it can be formed by raising the fifth tone of the Ionian scale by a half-step.<\/p>\n Attention:<\/strong> The Ionian scale has the same notes with the major scale. Therefore, it can be associated with the major scale.<\/p>\n So, raising the fifth tone of the D major scale: The C Ionian #5 scale: The third mode of the melodic minor scale is also compatible with the augmented scale. For example, the third mode of the A melodic minor scale: “Here’s How It Is Formed…”<\/em><\/p>\n The third mode of the melodic minor scale is also known as the “Lydian augmented” scale because it can be formed by raising the fifth tone of the Lydian scale by a half-step.<\/p>\n Attention:<\/strong> The Lydian scale can be formed by raising the fourth tone of the major scale by a half-step.<\/p>\n So, raising the fifth tone of the G Lydian scale: The C Lydian augmented scale: The augmented scale is a symmetrical scale; formed by the repetition of a particular group of intervals.<\/p>\n In the augmented scale, the semitone (1 half-step) and sesquitone (3 half-steps) are repeated throughout the scale. For example, in the C augmented scale:<\/p>\n C to Eb: Eb to E: E to G: G to G#: G# to B: B to C: The first, third, and fifth tones of the C augmented scale: The whole tone scale is also a symmetrical scale. Starting from any note, the whole tone scale can be formed by the melodic progression of notes in ascending and descending direction.<\/p>\n The C whole tone scale:<\/p>\n …consists of whole steps between successive intervals:<\/p>\n C to D (whole step): The first, third, and fifth tones of the whole tone scale when played together produces the augmented triad. Hence, the compatibility between the whole tone scale and the augmented triad.<\/p>\n Using the traditional (Ionian #5 and Lydian augmented) and symmetrical (augmented and whole tone) scales as options for the augmented triad widens your scope while improvising.<\/p>\n It is recommended that you put the scale options together while improvising. Maybe start out with the Ionian #5, then venture into the whole tone scale, and then back to the Ionian #5, etc.<\/p>\n Keep up the great work!<\/p>\n","protected":false},"excerpt":{"rendered":" Take your jazz improvisation to another level using these traditional and symmetrical scales.<\/p>\n","protected":false},"author":9,"featured_media":22449,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,350,1828,22,9,229],"tags":[2137,2145,17,2705,493,1122,498,2706,1807],"class_list":["post-18580","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-music-etc","category-improvisation","category-jazz-music","category-piano","category-scales-theory-piano","tag-augmented-scale","tag-augmented-triads","tag-basic-songs","tag-compatible-scales","tag-harmonic-minor-scale","tag-jazz-improvisation","tag-melodic-minor-scale","tag-scale-compatibility","tag-whole-tone-scale","post-wrapper","thrv_wrapper"],"yoast_head":"\n
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\n…which is D:
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\n…by a half-step (to D#):
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\n…produces the G augmented triad:
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\n“Check Out All The Augmented Triads On The Keyboard…”<\/em><\/p>\n
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\nDb augmented triad:
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\nD augmented triad:
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\nEb augmented triad:
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\nE augmented triad:
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\nF augmented triad:
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\nGb augmented triad:
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\nG augmented triad:
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\nAb augmented triad:
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\nA augmented triad:
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\nBb augmented triad:
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\nCb augmented triad:
\n<\/p>\n
Scale Options For Augmented Triads<\/h2>\n
Scale Option #1 – The Ionian #5 Scale<\/h3>\n
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\nHere are the seven modes:<\/p>\n
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\nThe second mode (B to B):
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\nThe third mode (C to C):<\/strong>
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\nThe fourth mode (D to D):
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\nThe fifth mode (E to E):
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\nThe sixth mode (F to F):
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\nThe seventh mode (G# to G#):
\n<\/p><\/blockquote>\n
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\n…is the scale option for the augmented triad.<\/p>\n
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\n…which is A:
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\n…by a half-step (to A#):
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\n…produces the D Ionian #5 scale:
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\n…which is the third mode of the B harmonic minor scale; formed by playing the B harmonic minor scale:
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\n…from D to D:
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\n“Ionian #5 Vs The Augmented Triad…”<\/em><\/p>\n
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\n…is compatible with the C augmented triad:
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\n…and this is because the first, third, and fifth tones of the C Ionian #5 scale:
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\n…are C, E, and G#:
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\nWhich is (for all intents and purposes) an augmented triad.<\/p>\nScale Option #2 – The Lydian Augmented Scale<\/h3>\n
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\n…starts and ends on C:
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\n…and that’s the Lydian augmented scale.<\/p>\n
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\n…which is D:
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\n…by a half-step (to D#):
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\n…produces the G Lydian augmented scale:
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\n…which is the third mode of the E melodic minor scale; formed by playing the E melodic minor scale:
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\n…from G to G:
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\n“Lydian Augmented Vs The Augmented Triad…”<\/em><\/p>\n
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\n…is compatible with the C augmented triad:
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\n…and this is because the first, third, and fifth tones of the C Lydian augmented scale:
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\n…are C, E, and G#:
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\nWhich is (for all intents and purposes) an augmented triad.<\/p>\nScale Option #3 – The Augmented Scale<\/h3>\n
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\n…is a sesquitone (3 half-steps).<\/p>\n
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\n…is a semitone (1 half-step).<\/p>\n
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\n…is a sesquitone (3 half-steps).<\/p>\n
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\n…is a semitone (1 half-step).<\/p>\n
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\n…is a sesquitone (3 half-steps).<\/p>\n
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\n…is a semitone (1 half-step).<\/p><\/blockquote>\n
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\n…are C, E, and G#:
\n<\/p>\n
Scale Option #4 – The Whole tone Scale<\/h3>\n
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\nD to E (whole step):
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\nE to F# (whole step):
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\nF# to G# (whole step):
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\nG# to A# (whole step):
\n<\/p><\/blockquote>\n
Final Words<\/h2>\n