ON THE CD

o Ttr.!CXS 42-45;

Ugmented sdoing*
Our creative master Shaun Baxter continies his mini series
dedicated to playing over this unique chord, by looking
more closely at the augmented scale itself ..

It would be a good idea to Iefer back to issues

u",tkha[+.,r,rft]ffijirffi
':o*Ir.{4ls:roNEx,ifi:i[,:f,
*ffi:" r3B and 139 ofcT for more information and
musical ideas using the six and nine-note
augmelted scales.
jlf i,;y.o,.0.-,"u'
This month's solo study compdses ten lines
SE'h#, f rhe ausnented isa six-nole scale that can be played over the lastbarofa 12 bar
q;'ir "fl}fu#
ro i{;' ri:fl ,[]:ffiiif i.Jil??".
blues (see Diagrarn 6). Each line is actuallytwo
bars long, because it is designed to resolve to t]le

,"€rTP#
A7 chod at tle start ofthe following choms (See
Diagram 7). The notes over the A7 chord will be

- il:s"E**rffiT,ffi*i"",: derived lrom any ofthe following:

sedes in which an interrd ofthree ATtAC#EG
semi-tones is followed by an interval 135b7
ofone semi-tone: see Diagram z). A mixolydlan: A I C* D E F* G
Altemativell., Diagram 3 slrows 123456b7
how this scale can be viewed as an A minor blues scaler A C D Eb E G
augmented triad with a chromatic rb34b55b7
'approach' note a semi-tone below
,,/ each note; however, it cal also be
Onthe G'f CD, you will hear me demonstrate
all ten lines in succession (as a continuous solo
viewed as compising two study) over a backing track that simply repeats
augmerted triads (in this case, E+ tle E augmented and A7 chords; however. there
and Drr +), because, when using this is also a backing hack devoted to tle full p-bar
scale, it's possible to use the D#+ blues sequerce. This will allow you to isolate and (
triad independently ofthe E+. focus on just one line at a time, and to pmctise
There is also a nine-uote version iDsefting it illto the appropriate place within the
ofthe scale. This can can be seen as blues sequence. To keep your mind clear at this
following a repeated tone, semitone, stage, I suggest that youjust irse A minor
semitone'pattem (Dia$am 4); but it pentatonic or A minor blues scale for all the 8r
can also be seen as cornprising three other chords in the progression, saving your
augmented triads: in this case, E+, augmented surprise for the 6na1 bar..
D#+ and D+ (see diagram S). Finally, remember that, becau-se ofthe
When using the nine-note augmented scale, augmented scale's s,,rnmetrical nature, all lines

OO"O Advanced
the results tend to be darker and more
'geometric'-sounding than when using the
can be shifted up or down in interrralsofa m.rjor
third (four fiets) ard will still work over the E
six-note version. augmeDted chord (t}le notes tiat rcsolve over
El Augmented sca le lnowledge
But beware: because tlerc are oDly three of theAT chord will have to be changed), II
TEMPO: 120 bpm ,iAugmented 5oloing the twelve notes in music not being used within
CD:TRACKS42-45 g 0verall tonal range tle nine-note augmented scale, things could
easily descend into a formless clromatic mess. GETTHETONE
TECHNICALLY, AN AUGMENIED triad Instead, you will get more convincing rcsult-s if
comprise. consecutive majorthirds. splittinS you i[terpret it ir a more harmonic or'vertica]'
each octave into thrce equal parts: way, wherebyvarious arpeggio sounds are
conscquently, it is the musical equivalent ofan exhacted fiom within the scale.
equilaleral b'iangle (see Diagram r). Knowing The s,'rnmetrical quality ofboth gpes of $e'l
how to play over tlis chord is impotaDt
because it represe[ts one ofthe four primary
augmented scale means that they are ripe for ail
kinds ofthematic development, because any
Foryour infothis month! solowas recorded
using my FenderRelic Stratthrough a Laney
plfl
tonal colour:s in Westem music (along with
majoq minor and diminished).
musical idea can be shi{led up or down iu
intervals of a major third (or four frets) and lr.ill
1mW valve head with the settings above, but of ts tl
last montl we looked at ways ofusing a still wolk over the same augme ted chord.
course anytone would doforthese exercises.
it nr
TMC( [EC0[0 .Allan lloldsuorth u one of the only guitarists that I tnox uho usss tho augtmnted scat6 ultt any &gm€ of rugutartty.
the
ll0wovoli i[ general, saxophono players tend t0 be moro advanced rvlth thoir sing€ note soloing, because thatrs all they
do, So as rvoll as
toni
listonlng t0 albums by Holdswolth, check out the incredlblo,rohll G0ltrane and ilichaelBrrckor to hoar augmonted idoas
h action. Wesl
72 GuitarTechniques October 2009