in today’s video I’m going to share with
you the three most important shades of the augmented triad and how to use them to
spice up boring chord changes bass hack coming up! Hey Basshackers Mischa here
with MMEducation showing you how to learn faster and practice smarter by
using the latest findings in neuroscience so you can become the bass
player you want to be, express yourself freely on your instrument and connect
with your audience on a deeper level so if you’re new here consider subscribing
and at any point in the video go check out the show notes and links in the
description. Bullet points for this episode and links to other related
videos and free resources all in the description let’s get going and build
some new neural pathways! When I first started getting into the Augmented triad
in exploring how to use it I ran into two problems
number one it always sounded unnatural and then never seemed to be a way for me
to dissolve it in a way that just sounded musical and the other problem
was I wasn’t able to play where I wanted to throw it in the middle of a chord
progression no way I always had to jump to that one shape that I knew which was pretty
easy to play but not always accessible so that’s what we’re here to for today
checking out all three shapes and then we’re gonna talk about how to dissolve
the Augmented triad so it sounds smooth and musical when I
finally found the solution for my two problems it was like a blanket was
lifted of my eyes once more I used Gary Willis approach of thinking
shapes instead of notes to accomplish playing that triad all over the
fretboard whenever I needed it wherever and to make it sound more natural I use
the concept which is called voice leading but more detail on that in a
little bit here the three most important of men to try shapes number one the
downward pointing triangle shape number two the upward pointing triangle shape
and number three the three string shape also easy shape so maybe you’re sitting
there watching this video and thinking well the Augmented triad
doesn’t really apply to the music I play but let me give you a few examples that
might make you reconsider your opinion number one Led Zeppelin in with Kashmir
number two Foo Fighters which generator number three Billy Joel temptation
number four Mariah Carey vision of love number five Stevie Wonder for once in my
life number six Martha and the Vandellas
dancing in the street and to be honest almost every second Beatles song has
something like that in it just for the sake of completion one jazz example
ain’t misbehavin by Fats Waller and Harry Brooke let’s talk a little bit how
you can use the augmented triad in a musical context number one it could be used to
get that flat 13 sound in a dominant chord because the Augmented fifth this
basically makes that same note has a flat 6
the minor 6 flat 13 sounds brilliant over most dominant
Accords gets a little bit of extra tension and therefore a bigger release
once you release it to the following major chord number two it can be used as
a substitute for a dominant flat 13 chord
flat 13 root note and major third so there’s one
more implementation that I want to mention here briefly however and that as
an upper structure to a melodic minor chord so the melodic minor chord has a
major seven instead of a minor seven and that kind of leaves us with this shape
up here augmented triad and this being the root
note upper structure has always no root note so you can just easily use it to
come up with patterns for melodic minor as well so let’s have a look how this
looks in the real world if we’re taking ain’t misbehavin as an example we have a
turnaround there D flat major C minor F minor and B flat dominant which they
mixed up a little bit with augmented chords what they did is they replace the
C minor chord with a secondary dominant two F minor which is C7 now all of
a sudden the e-flat becomes e so that’s where we get the e from the e augment to
try and the A flat well that’s just in the key if you go back to the original C
minor that’s a Aeolian and that one actually
does have a minor six which is a flat and the C explains itself it’s the root
note so the Augmented triad makes perfect
sense in this case go further G minor and then G flat
f-sharp augmented whichever you want to call it G flat is actually more correct
because it is the same concept only that we’re not starting on the major third of
the dominant chord we’re starting on the or let’s put it that way our root note
new root note is not the major third of the original chord it’s the flat six
of the original chord which is G flat when we have B flat as root and the D is
the major third all dissolving perfectly into A flat major so here’s another way to use these
triads in a solo situation if I’m using that same turnaround
Eb then I go to C7 instead of C minor F minor and then Bb7 I
can just use these triads as my solo vocabulary check it out and this is how you use the Augmented
triad in a solo without it sounding like crap so today I showed you the three
most important augmented triad shapes and why it’s worth it checking them out
even more so if you play jazz I’ve given you a few examples from the pop world
and I showed you how to use it in a solo context when playing over I-VI-II-V aka turnaround question of the day in
which song are you going to implement the Augmented triad let me know in the
comments section and remember some of the coolest ideas come from you and the
MMEducation Community so definitely connect with everyone in the comments
and let me know if there’s any topic that you want me to cover in a future
tutorial thanks so much for checking out this video I hope it got you one step
further towards becoming the bass player you want to definitely subscribe for
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until next time MMEducation helps you to learn faster
and practice smarter so keep up the good work love and bass

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