The Augmented Triad isn’t found naturally within the major scale. It was because of this that as a student I always found using it to be confusing.

It turns out that the Augmented Triad is found within the Altered Scale & the Phrygian Dominant Scale (amongst others). It is these two scales that we’ll be looking at when deploying the Augmented Triad.

Altered Scale Formula: 1 b2 #2 3 b5 #5 b7

Phrygian Dominant Scale Formula: 1 b2 3 4 5 b6(#5) b7

One could use the Altered Scale as a substitute scale over a functioning dominant chord (a dominant 7 chord that resolves: G7 - C7 for example). This achieves an ‘outside’ sound as it contains a lot of tensions - b2 #2 b5 #5. These are the ‘altered’ notes. One of which (the #5) is contained in the Augmented Triad.

So one way that we could use the Augmented Triad is to play it over a functioning (resolving) dominant chord. In the first idea below I play the G Augmented Triad over G7 resolving to C7 - the last two bars of a 12 bar blues.

Let’s take a look at one shape that we could use to play the Augmented Triad and then take a look at the lick.

You can find more comprehensive Augmented Triad diagrams here.

As I explained above, the Phrygian Dominant scale also contains an Augmented Triad. The reason I’m bothering to make this distinction is that the Phrygian Dominant scale is the most consonant scale to play when a dominant 7 chord resolves to a minor chord: G7 to Cm for example. It is for this reason that I think of the Augmented Triad as coming from the Phrygian Dominant scale if I’m employing it over a dominant 7 chord resolving to a minor chord. It still produces the ‘outside’ or ‘angular’ sound I just don’t have to think of another scale than the one I would normally be playing over the dominant chord in the first place.

The first half of this second lick uses the Dorian scale and a chromatic cell from one of my previous lessons on how Mike Stern uses chromaticism. The second half uses the G Augmented Triad, superimposing it over Cm7 to imply G7#5 - Cm7 (V7-I) a tension not reflected in the actual harmony. John Scofield does this a lot and everyone should listen to him!

Try using these two Augmented Triad concepts in your own playing.

I hope you’ve enjoyed this lesson. Do contact me if you have any questions.

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Thanks so much, James.