maj7#5 and augmented chord

[JazzFanatik]

Okay i may be over thinking this, but is there a such thing as an augmented 7th chord?

Or would that technically just be Gmaj7#5? or is that the same exact chord just different name?

so for example. An augmented triad:

G B D#

If you add the 7 of G then it becomes:

G B D# F#

so what would we call that chord?

[Patriots2006]

augmented 7th usually refers to a dom 7th chord with a raised fifth. The Gmaj7+5 would be notated just like you have it. It comes from the third chord of the melodic minor scale.

[paynow]

augmented 7th usually refers to a dom 7th chord with a raised fifth. The Gmaj7+5 would be notated just like you have it. It comes from the third chord of the melodic minor scale.

+1. E melodic minor. It can also be the sixth chord of a harmonic major scale, in this case, B harmonic major.

[djangoles]

Okay i may be over thinking this, but is there a such thing as an augmented 7th chord?

Or would that technically just be Gmaj7#5? or is that the same exact chord just different name?

so for example. An augmented triad:

G B D#

If you add the 7 of G then it becomes:

G B D# F#

so what would we call that chord?

Emin/maj7 add 9 (no root).....aka James Bond Ending Chord

[JazzFanatik]

cool thanks everyone!

[JakeAcci]

Emin/maj7 add 9 (no root).....aka James Bond Ending Chord

It can function as a lot of things, but is often in more modern compositions as its own harmony. It's also cool to try to reharmonize standards with maj7#5 in place of maj7.

Maj7#5 is pretty useful for establishing chord types of melodic minor. A Gmaj7#5 voicing in the right register can work well for:

E-maj7 as stated
F#7sus4b9
A7#11
C#m7b5
D#"alt" (D#7#5#9)

Also good to note that Gmaj7#5 is a B triad over G bass note. So any B major voicing with a G note in it can be considered a voicing of Gmaj7#5, and a B major arpeggio with a G note is an arpeggio of Gmaj7#5.

[ruiner54]

For some reason I have a G AUg 7 chord as:

G-B-D#-F

(using 1-3-#5-b7)

Am I missing something or is that wrong?

[paynow]

For some reason I have a G AUg 7 chord as:

G-B-D#-F

(using 1-3-#5-b7)

Am I missing something or is that wrong?

That's basically right. What you have there is a Dominant 7 chord with a sharp 5. G7#5, G7(#5), G7+, are better ways to write it. I usually use the first one.

[JakeAcci]

For some reason I have a G AUg 7 chord as:

G-B-D#-F

(using 1-3-#5-b7)

Am I missing something or is that wrong?

That's right.

G B D# F = G+7, G7#5, G7+, whatever.

G B D# F# = Gma7+, G+ma7, Gma7#5, or B/G

[AlsoRan]

It can function as a lot of things, but is often in more modern compositions as its own harmony. It's also cool to try to reharmonize standards with maj7#5 in place of maj7.

Maj7#5 is pretty useful for establishing chord types of melodic minor. A Gmaj7#5 voicing in the right register can work well for:

E-maj7 as stated
F#7sus4b9
A7#11
C#m7b5
D#"alt" (D#7#5#9)

Also good to note that Gmaj7#5 is a B triad over G bass note. So any B major voicing with a G note in it can be considered a voicing of Gmaj7#5, and a B major arpeggio with a G note is an arpeggio of Gmaj7#5.

You said a lot in that reply, JA.

So for any particular scale, take the root of the I chord and put it as a bass note with a triad built from the 3rd and you will have a I Maj7 #5. If that is right, you can use any inversion of a triad built from the 5th to get different voicings.

Is that correct?

Also, in your first comment, I am understanding you to say that the Maj#5 is a good transition (voice leading) chord to go from Major to Melodic Minor. Is that correct.

Thanks.

[ruiner54]

That's basically right. What you have there is a Dominant 7 chord with a sharp 5. G7#5, G7(#5), G7+, are better ways to write it. I usually use the first one.

Ah! Well so it is...look at that. Sometimes they get confusing, but all in all I am surprised to find that the make-up of most chords is relatively straight forward

Thanks for responding...I am still green in this world and just want to keep it straight.

G7#5 is actually much easier to remember since I use Dom chords much more than augmented chords (triads, 7ths or otherwise)

[paynow]

Ah! Well so it is...look at that. Sometimes they get confusing, but all in all I am surprised to find that the make-up of most chords is relatively straight forward

Thanks for responding...I am still green in this world and just want to keep it straight.

G7#5 is actually much easier to remember since I use Dom chords much more than augmented chords (triads, 7ths or otherwise)

No worries. You're most welcome. As an exercise, resolve it to a C minor chord so you can get used to the sound.

[AmundLauritzen]

You can take some of the concepts you'd use on 7#5 chords and raise the 7th to work with maj7#5 chords.

Take your C whole tone and raise the seventh, so you get:
C,D,E,F#,G#,B

Now it works on Cmaj7#5.
Sounds pretty wicked to my ears

There's always the melodic minor option(lydian augmented), but melodic minor can saturate the ears after a while. This modified whole tone scale gives you a harmonic minor-like interval from G# to B. Helps break things up a bit from the true and tested lydian dominant.

[JonnyPac]

3rd mode/chord of MM is the "Lydian Augmented" chord-scale. You guys cleared that up. Maj7#5 is the usual chord symbol though there is a #4 in the scale, not a P4 or P5. Here's my pile of MM info:

https://www.jazzguitar.be/forum/jazzg...es-chords.html

Also, Harmonic Major is a major scale with a b6 that can produce the sound of a maj7#5 (though the #5 is actually the b6 replacing the P5).

[JakeAcci]

You said a lot in that reply, JA.

So for any particular scale, take the root of the I chord and put it as a bass note with a triad built from the 5th and you will have a I Maj7 #5. If that is right, you can use any inversion of a triad built from the 5th to get different voicings.

Is that correct?

Sort of, with some typos. Put the III major triad over the bass note of I. If the bass is playing I, any inversion of the III triad gives a maj7#5.

Also, in your first comment, I am understanding you to say that the Maj#5 is a good transition (voice leading) chord to go from Major to Melodic Minor. Is that correct.

I'm not sure what you mean here.

If you are reharmonizing a tune, sometimes replacing one of the maj7 chords with a maj7#5 chord can sound cool, and sometimes not. I mean, in part it depends on how much you like the sound of a maj7#5 - it can take a little getting used to.

A simple thing to try is, when the melody of a tune is just a held out third or seventh over a Maj7 chord, play that chord as a Maj7#5. Sometimes it works. For example, try it on the resolving major sevenths of All the Things You Are. Most of the time the melody notes are thirds on the major sevenths, so sometimes a maj7#5 sounds nice. Fresh:

Fm7 - - -| Bbm7 - - -| Eb7 - - -| Abmaj7 - - -
Dbmaj7#5 - - -| Dm7 - G7 - | Cmaj7#5 - - -| % - - -

[AlsoRan]

Thanks. That cleared things up.