The augmented chord

[dwest2419]

Hi guys back with another thread. I was going to ask this question in the guitar forum, but I'm afraid at even attempting to do so. Anyway, I just had this question that was on my mind. Which chord family does an augmented chord belong to Tonic, or Sub-dominant, or Dominant? For I know vii* diminished chord belong to the dominant chord family but what about an augmented chord.

[blyempowered]

Hi guys back with another thread. I was going to ask this question in the guitar forum, but I'm afraid at even attempting to do so. Anyway, I just had this question that was on my mind. Which chord family does an augmented chord belong to Tonic, or Sub-dominant, or Dominant? For I know vii* diminished chord belong to the dominant chord family but what about an augmented chord.

I think dominant.

Y'all correct me if I'm wrong.

[blyempowered]

I think dominant.

Y'all correct me if I'm wrong.

Actually, I'm a little confused since the 5th note raised in the chord makes it augmented (like CEG would be CEAb). Therefore, if the regular C chord is tonic, I'm not sure which family the augmented chord would go in.

Sorry for confusing you.

[blyempowered]

Actually, I'm a little confused since the 5th note raised in the chord makes it augmented (like CEG would be CEAb). Therefore, if the regular C chord is tonic, I'm not sure which family the augmented chord would go in.

Sorry for confusing you.

But also, the dominant scale degree is the 5th note which is G in the chord. Sorry I'm rambling.

[T-Block]

The augmented chord can be used as a substitute for a dominant (or secondary dominant) chord. So, I guess I would put it in the dominant chord family. Brings to mind the dom7 #5/#9 that us keyboardists play. It's a dominant chord, plus it's augmented because of the #5.

[blyempowered]

The augmented chord can be used as a substitute for a dominant (or secondary dominant) chord. So, I guess I would put it in the dominant chord family. Brings to mind the dom7 #5/#9 that us keyboardists play. It's a dominant chord, plus it's augmented because of the #5.

Ok, I feel a little relieved. Btw, this may be off subject but I'm realizing that some chords (like the one I think you mentioned) I've been using as passing chords for a while but didn't know they were passing chords or their notation. Wow!

[T-Block]

Ok, I feel a little relieved. Btw, this may be off subject but I'm realizing that some chords (like the one I think you mentioned) I've been using as passing chords for a while but didn't know they were passing chords or their notation. Wow!

Me too man. Once I really gained an understanding of the number system, I went back to all them songs I learned and started picking them apart so easy that I wondered how I missed it.

[eddys]

The augment chord doesn't belong to one particular family. Similar to the nineth(CM9, C9 or Cm9), the augment can be played in various combinations. It can be played with the major or minor, accompany the 9th major 7 or dominant 7th. It is found naturally in the whole note scale and is a passing tone in the minor  progressing to the minor sixth. It is also an atypical suspending tone demanding resolution; jazzy with the 7th and nineth. I hope that this was helpful.

[funkStrat_97]

If dealing with the I chord, I just realized the the raised 5th (that would be G# in the key of C Maj.) is diatonic relative to the harmonic minor.  We also see this G# function as a major 3rd in the III chord.  So where you would normally harmonize the iii as E minor or minor 7th, you can play E7......this also corresponds the the E Phrygian dominant mode of the harmonic minor.

[T-Block]

If dealing with the I chord, I just realized the the raised 5th (that would be G# in the key of C Maj.) is diatonic relative to the harmonic minor.

It's also diatonic using the natural minor and melodic minor descending as well.