Good question. You don’t mix sharps and flats so in theory the #5 would be a b6 because the 3rd in a minor chord is flattened. So in theory to write the chord out it would be R b3 b6 but in reality it could be a #5 making a augmented minor chord.
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In my opinion it will become a different chord altogether, not an “augmented minor” or something like that. For example:
Gm triad: G Bb D
With the 5th sharpened: G Bb Eb (enharmonic equivalent of D#). This is an Eb major triad.
Check out the respective shapes on strings 1-3, it will become more obvious.
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Hmm. Not sure I entirely agree with this @Jozsef.
Based on the notes, in a vacuum, you could see your example as Eb major triad. You could equally call it a Cm7 ( rootless), and several others besides.
In reality, it all depends on the function of the notes, and by extension, the chord, in the overall melody and harmony.
It could very well be functioning as a Gm5+ rather an Eb Major.
Cheers, Shane
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I have to agree with Shane, every chord can have multiple names depending on how and where it is used.
But by definition a triad is made up of stacked maj/min 3rds, so an augmented 5th wouldn’t follow this recipe and this question is in the triad chord section so the renaming of the chord to a Major triad fits the category of triads. On the other hand not all chords fall in the category of triads which brings us back to where we started.
I quess that’s way it’s called theory and not written in stone.
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Hi Zach.
That is not accurate …
Using the C major scale for ease.
Three major, three minor and one diminished triad all fully derived from the notes of the C major scale.
The only triad that this does not work with is the augmented triad.
Augmented triad = 1, 3, #5
The augmented has a major 3rd. Using the three major triads above would give:
C+ = C, E, G#
F+ = F, A, C#
G+ = G, B, D#
Clearly, those #5ths do not belong in the C major scale. None of these augmented triads are diatonic to the key of C.
My advice would be not to get too hung up on augmented triads. They are rarely used.
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That is exactly what we do.
See my diagram in the post immediately prior to this one.
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Strictly speaking, no. The definition of an augmented triad is that it contains two major third intervals. Your triad does not.
Augmented triad = 1, 3, #5
1 → 3 is a major third
3 → #5 is a major third
Your ‘triad’ would be
unknown = 1, b3, #5
As @stitch correctly writes, that is awkward and contravenes the naming conventions so you would have to alter one or other so you do not have flat and sharp in the same triad formula.
unknown - 1, b3, b6
or
unknown = 1, #2, #6
The 1, b3, b6 looks a better option as it contains a 3rd.
Making a specific using a given root note.
C unknown = C (the 1), Eb (the b3), Ab (the b6)
These three notes match exactly those within Ab major triad.
Ab triad = Ab, C, Eb
The C unknown is actually a first inversion Ab major.
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I have had this in my mind since posting and wanting to bring in two short examples of augmented chords (triads) in action.
Mamma Mia (Intro) by ABBA.
This uses the augmented of the tonic chord, simply moving from major tonic to augmented tonic and back again.
Just Like Starting Over (Intro) by John Lennon
This also uses the augmented of the tonic chord as a stepping stone to the relative minor vi chord and back to the tonic again. The movement on the high E string is a great example of voice leading.
There are other ways in which an augmented could be used would be used but I shall refrain from going too deeply down that hole. I just wanted to bring a little light rather than dismiss them altogether.
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Richard @Richard_close2u
As you say the first is the intro to Mama Mia, with quick changes between D and Daug, not too difficult if you use your little finger which I mentioned recently in D Shape Explorer.
Michael
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