Hi Everyone!

Every so often, I post a blog on a chord or harmony that I think is interesting.  This blog will be about a series of three chords that I think are interesting, particularly when used as a group.

Chord 1

Below is an augmented triad, built with D, F#, and A#.

Now, let’s add a B in the bass the above chord.  This creates a B minor triad with the major 7th scale degree above the bass (A#) added.  This will be “chord #1″ in the series.

Chord 2

Now, let’s return to the initial augmented triad, but respell the A# as a Bb.  This is enharmonically equivalent to the first augmented triad.

Next, let’s add a G to the bass of the above chord.  This creates a G minor triad with an added major 7th.  This is “chord #2″.

Chord 3

Now, let’s return to the previous augmented triad, but respell the F# as a Gb.  This is enharmonically equivalent to both augmented triads above.

Next, let’s add an Eb to the bass of the above chord.  This creates an Eb minor triad with an added major 7th.  This is chord #3.

Possible Uses

This creates three chords that are sonically related—they are all minor triads with added major 7ths.  As such, they have a similar sound quality, particularly dark and brooding.

In addition, they share three common chord tones, which ensures a very smooth transition between the chords.

One possible progression using these chords is below:

Happy writing everyone!

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    ….the first chord has always been known around here as the Dead Body Chord. I’m sure you know why.

    F#7/flat9
    Last chord?

    Mmmm…It’s the semitone clashes in each of these chords that make that interesting sound. I like the movement in the left hand

    I would have never thought to put a flat in the bass clef and sharps in the treble (chord 2). Thanks for the tip. That opens up a great deal of notating (writing) possibilities.

    Re: Scott
    Yes. :)

    Very cool, love the bass motion over the pedaling D aug5th. Thanks Ben!

    Very inspired progression. I like it.

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