Triads over m7 chords

[Boss Man Zwiebelsohn]

Hi again!

What about augmented triads over a dominant chord such as a C7 vamp?

Do you the same aug triads if the chord has strong tensions like b9, b5, #9, #5?

Someone correct me if I am wrong:

If you have all those tensions the chord scale theory people (not me) use the C altered scale which is basically the 7th mode of C# resp. Db melodic minor, so they use any chord from the C# melodic minor to express the altered C7. Which means you could use any triad on the steps of C#/Db melodic minor to improvise an altered C7 sound: Db– Eb– Fb+ (=E+) Gb Ab Bbdim Cdim. Note that there are neighbour pairs of the same type which might be interesting: two minor triads, two major triads and two diminished triads.

[rpjazzguitar]

Someone correct me if I am wrong:

If you have all those tensions the chord scale theory people (not me) use the C altered scale which is basically the 7th mode of C# resp. Db melodic minor, so they use any chord from the C# melodic minor to express the altered C7. Which means you could use any triad on the steps of C#/Db melodic minor to improvise an altered C7 sound: Db– Eb– Fb+ (=E+) Gb Ab Bbdim Cdim. Note that there are neighbour pairs of the same type which might be interesting: two minor triads, two major triads and two diminished triads.

i think that's right. I'd add that, since there's no avoid note in melodic minor harmony, you can use any group of notes. And, move them through the scale.

[ragman1]

Someone correct me if I am wrong:

If you have all those tensions the chord scale theory people (not me) use the C altered scale which is basically the 7th mode of C# resp. Db melodic minor, so they use any chord from the C# melodic minor to express the altered C7. Which means you could use any triad on the steps of C#/Db melodic minor to improvise an altered C7 sound: Db– Eb– Fb+ (=E+) Gb Ab Bbdim Cdim. Note that there are neighbour pairs of the same type which might be interesting: two minor triads, two major triads and two diminished triads.

Not wrong. Actually, the melodic minor scale yields some very interesting chords in themselves if one harmonizes it. For instance, the G melodic minor stacked in 3rds gives:

Gm/M7 - Am7 - BbM7#5 - C7 - D7 - Em7b5 - F#m7b5

So, you know, if you want an altered sound just play an Am7, C7 or D7. No sweat :-)

This is Dm7 - G7 - CM7. I've shoved the G melodic minor up to Ab mel m so we get this:

That BbM7#5 chord is a nice sound, by the way:

xx8775

[ragman1]

Incidentally, since the thread's about triads over m7's, have you seen this? Lots of triads over minor chords.

You might find his solo a little bare because he's using triads all the time for demo purposes. In real life one wouldn't do this, of course, they're used much more sparingly between scale lines and arpeggios, etc.

[Basshead]

Thanks fellas, Ima spend this weekend eating only triads, Db-Eb over G7 sounds like money in the bank to me

Major triads sound or at least work better for me than minor ones in general over any type chord, major, minor7 or dominant.