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Everything you wanted to know about the Augmented triad part III: Mixing it up

Warning: This post is not for beginners. Reading this post without adequate theoretical preparation may induce nausea, panic attacks or mild confusion.

If you haven't read my previous two posts on the augmented triad, I recommend that you do prior to reading this, the third instalment. Just click on my name and all of my posts will pop up in chronological order.

As mentioned in part II, this instalment will focus on lesser used scales and modes that can be used over the C+ augmented triad.

First, C Lydian Augmented. Mode III of A Melodic, its formula is 1 2 3 #4 #5 6 7. Sounds great.

Second, C Lydian +#2. Mode VI of E Harmonic Major, its formula is 1 #2 3 #4 #5 6 7. Lovely.

Third, C Lydian +#6. Mode II of B Neapolitan Major, its formula is 1 2 3 #4 #5 #6 7.

Fourth, C Major Locrian. Mode V of F Neapolitan Major, its formula is 1 2 3 4 b5 b6 b7. Great unusual sound, basically a Locrian mode with a major 2nd and 3rd.

Fifth, C Enigmatic. Mode II of B Neapolitan Major bb3, its formula is 1 b2 3 #4 #5 #6 7.

Now the fun part. In the second instalment in this series, I talked about combining scales to create phrases that use all 12 notes, but based around the particular scale choices, rather than creating 10 or 12 note scales and then randomly wandering around until something vaguely pleasing appears before the ears.

The Modal Method approach uses the different scale options, always keeping in mind what the parent scale is and where the point of resolution is . So try mixing up Lydian+, Lydian+#6, Lydian+#2, Major Locrian and Enigmatic. A short phrase in one, followed by one in another. No randomness, every note choice has its place.

In the following example, I have used the scales in the following order.

First, a straight ascending C Enigmatic scale, with a slight cutback on the way (cutback is a term I use for interrupting the flow of a scale by jumping up a note and then descending before continuing the ascent.)

Then the next phrase uses the following in this order:

C Lydian+ - C Lydian+#6 - C Major Locrian - C Lydian+#2 - C Enigmatic

There is no point of resolution in this example as the backing track is just an C augmented triad, but if the triad changed to say, A minor, I would finish on mode III of A Harmonic minor, C Ionian+, to resolve correctly.

For those who want to practise over the C+ backing track, here is the link to the video:

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