Augmented scale?

[JohnW400]

Not to hijack the thread but to me the Ma7#5 is like the 'Swiss Army knife' of chords since it works against all kinds of qualities

Cma7# works as the upper partials to D7 (7 9 #11 13) and of course the TT sub of D , Ab ( 3 #5 1 b9).

There's a thread about this under Chords (I think) where Bako points out all the possible common usages.

As far as the augmented scale I haven't really worked on it but I'm not really hearing it as "dominant". Too many 1/2 step resolutions. I think it would work better as a pentatonic, but the note you leave out would depend on the chord you use it against.

[JonR]

Not to hijack the thread but to me the Ma7#5 is like the 'Swiss Army knife' of chords since it works against all kinds of qualities

Cma7# works as the upper partials to D7 (7 9 #11 13) and of course the TT sub of D , Ab ( 3 #5 1 b9).

Right, that's what I was thinking.

[oneworld]

On the same root??

sure thing...

hancock, shorter, towner, liebman, brecker, mendoza, maria schneider amo
use it as a compositional & improvisational tool... commonly used in post-60's
modern jazz...

a good intro for you might be 'Ron Miller - Modal Jazz Composition & Harmony, Vol. 1 (Advance Music)'

[JonR]

sure thing...

hancock, shorter, towner, liebman, brecker, mendoza, maria schneider amo
use it as a compositional & improvisational tool... commonly used in post-60's
modern jazz...

a good intro for you might be 'Ron Miller - Modal Jazz Composition & Harmony, Vol. 1 (Advance Music)'

I don't see how maj7#5s sub for dom7s in functional harmony, let alone in modal harmony.
Any chance of a quote from the book? Or better, a recorded example?

[bako]

CMa7+/D-----D13#11

very common dominant chord