THE AUGMENTED-DOMINANT CHORD:


With a C root this chord will be labeled C+7 or C7(#5)

Here are the 4 chord tones: C, E, G#, Bb

The construction is easy to remember: we have a C Augmented Triad with an added m7.

This Augmented-Dominant chord is considered the basic chord for an Altered-Dominant sound. It is usually associated with the following two scales:

1. C Altered-Dominant (C# Melodic Minor)

2. C Whole-Tone (of which each degree can generate its own +7 chord)


We will also find C+7 in three other Dominant scales:

1. in C Aeolian-Dominant (F Melodic Minor)

2. in C Phrygian-Dominant (F Harmonic Minor)

3. in C Phrygian b4 (Ab Harmonic Major)

Note though that those last 3 scales also happen to contain a Perfect 5th. The G#/Ab being usually labeled as a b13. Nevertheless, the scales still include the 4 chord tones of our C+7.

(for additional discussion on Chords & Scales, click on this link: "Chords & Scales")


Lets go back to something I mentioned regarding the construction of the chord: it contains an Augmented Triad. What is the main characteristic of the Augmented Triad? It is symmetrical: all 3 notes are a Major 3rd apart, and all 3 notes could be called the root of that Augmented Triad.

C+: C, E, G#

E+:       E, G#, C

G#+:         G#, C, E

By extension, we can move our C+7 chord in Major 3rds and derive the following substitutions:

E+7: E, G#, C, D which is the equivalent of C+(add 9)

G#+7: G#, C, E, F# which is the equivalent of C+(add #11)

Therefore, C+7 = E+7 = G#+7

We can then substitute +7 chords from all 3 notes of the Augmented Triad which is found in the Augmented-Dominant chord.

Here's a practical application with "All The Things You Are": at the end of the "bridge" section most lead-sheets have a C+7 (measure 24) setting up the Fm7. Well, how about playing E+7 instead of that C+7? Not bad, considering that the new root movement from E+7 to Fm7 is of an ascending m2.


You can also find some interesting subs for a ii-V7-I

instead of: Gm7-C7-FMaj7

We can now try: Gm7-E+7-FMaj7

or: Gm7-G#+7-FMaj7


Experiment with various inversions so that you get pleasing root movements.

For example: Gm7-E+7/G#-FMaj7/A

or: Gm7/D-E+7-FMaj7

or: Gm7/Bb-E+7/C-FMaj7/C


Remember that all of these possibilities may simply be used as upperstructures as opposed to actual chord substitutions. Make sure you learn all of your drop 2 inversions for the +7 chord so that you can take advantage of the many options.




All Content © Bruno Pelletier-Bacquaert 2005 - 2011

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