#1
I've seen it used in King Diamond's Black Horseman. It's a solo masterpiece but it's hard for me to analyze that scale from only one song. Plz can u advice me some metal song/solo/rock that uses it. I just can't it out of my head.
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    Quote by Fat Lard
    I like semen, so what?
    #2
    Forget learning stupid 'scales'. Learn the important (and real) ones that are actually usable (Major,minors,modes).

    99% of the time all those scales with stupid names are normal scales with notes taken out of them.
    #4
    Quote by griffRG7321
    Forget learning stupid 'scales'. Learn the important (and real) ones that are actually usable (Major,minors,modes).

    99% of the time all those scales with stupid names are normal scales with notes taken out of them.

    This probably wasn't the advice you were looking for but I do agree with this guy.
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    #5
    Quote by Roscio
    Well, Forget scales at all... =D

    I do not agree with this statement.
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    #6
    Quote by griffRG7321
    Forget learning stupid 'scales'. Learn the important (and real) ones that are actually usable (Major,minors,modes).

    99% of the time all those scales with stupid names are normal scales with notes taken out of them.


    I'm quite familiar with most of the "important and real" scales. As i tried to write smth in the Augumented 5th it just came up as a fail. That's why i'm looking for songs that have it used in them so i can the get feeling of some rhythm figures and licks. Those chromatics can sounds sweet if used right. So plz don't give me advices of learning other scales and stuff. I've come to a point in my playing where i want to explore new things. Plz assist with advices of melodic parts of songs/instrumentals using it.

    Help apreciated in advance!

    Cheeze!
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      Quote by Fat Lard
      I like semen, so what?
      #7
      Quote by griffRG7321
      Forget learning stupid 'scales'. Learn the important (and real) ones that are actually usable (Major,minors,modes).

      o please, just consider that he probably knows those by heart, its easy stuff so he probably does (TS, if you dont, then you aint ready for this crazy stuff)
      more importantly you must be able to resolve random notes

      the augmented scale is pretty hard to use, it won't sound good played as a scale,
      you have to look at it like notes you can use to form arpeggios (you can form a lot of different ones thats what makes it great)

      i don't listen to metal and i dont intend to so cant help you there,
      but the augmented color is more used in jazz, especially by saxophone players
      so listen to (late) michael brecker stuff, or david liebman (check out the 3rd visit, lots of augmented stuff) or jerry bergonzi (i suggest essentials)

      anyway here's a short summarry of how you could use this hexatonic trick

      if you look at C augmented scale ( 1 #2 3 5 b6 7) that gives you
      C D# E G Ab B
      so what we see is 2 agmented triads, C (C E Ab) and B (B D# G)
      as you know all notes of this triad are a major 3rd apart,
      this means every C+ and B+ arpeggio can be moved up or down a major 3rd
      in other words it is symmetrical and therefore very nice for thematical playing,
      so play a theme around an augmented arpeggio and vary on it moving it around
      (use both so you're not limited to major 3rds)

      now the interesting bit,
      if you take a good look at all notes you will also find a Cmaj, Cmin, Abmaj, Abm, Ebmaj and Ebm arpeggios that you can all cycle around in major thirds
      now that's a lot of possibilities!

      you can use the augmented scale over augmented chords ofcourse and over the V7, but also over major chords, but it WILL bring a lot of tension, so i suggest using it on a major chord if it stays for 2 bars or more so you can resolve it strongly

      good luck!
      Last edited by Funkicker at Dec 21, 2009,
      #8
      Quote by Funkicker
      if you look at C augmented scale ( 1 #2 3 5 b6 7) that gives you
      C D# E G Ab B
      so what we see is 2 agmented triads, C (C E Ab) and B (B D# G)
      as you know all notes of this triad are a major 3rd apart,
      this means every C+ and B+ arpeggio can be moved up or down a major 3rd


      Perhaps you're using enharmonic equivalents for convenience, but it should be noted that C augmented is C E G# and B augmented is B D# Fx. You'd need a scale of 1 #2 3 x4 #5 7 from C to accommodate them.
      #9
      The last two dudes. 10x for the info. Really appreciated and it helped!

      This is some wacky stuff but i'm catching up with it. It's really interesting (bow)
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        Quote by Fat Lard
        I like semen, so what?
        #10
        Quote by Dodeka
        Perhaps you're using enharmonic equivalents for convenience, but it should be noted that C augmented is C E G# and B augmented is B D# Fx. You'd need a scale of 1 #2 3 x4 #5 7 from C to accommodate them.


        Its very hard to conserve the rules of diatonic theory when playing in the hexatonic system of the augmented scale. I find its much simpler to allow for enharmonic equivalents, so that we can have C, Cm, E, Em, G♯, and G♯m all in the same key, rather then they enharmonic CaddX11(no5), CaddX11sus♯2(no5), E, Esus♯2, G♯sus♭4, and G♯m.
        #11
        It's true; it can get a little sticky. It could help to freely relabel [what are often but not always] enharmonic pitches as needed so you could still have your C, Cm, E, Em, G# and G#m without nasty enharmonic spellings. Switching between #2/b3, #7/1 (and x4/5 as before) isn't a completely untenable concession.

        In the event of a severe meltdown, numbered pitch and interval classes are perhaps the most efficient solution.
        #12
        Quote by Dodeka
        Perhaps you're using enharmonic equivalents for convenience, but it should be noted that C augmented is C E G# and B augmented is B D# Fx. You'd need a scale of 1 #2 3 x4 #5 7 from C to accommodate them.

        yeah i named the notes of the triads out of the scale notes which are based on the scale formula which i learned as 1 #2 3 5 b6 7 so b6 is Ab and 5 is G you are absolutely right though
        #13
        Quote by Funkicker
        yeah i named the notes of the triads out of the scale notes which are based on the scale formula which i learned as 1 #2 3 5 b6 7 so b6 is Ab and 5 is G you are absolutely right though


        Your way is fine, too. It's just a matter of how a person wants to simplify things.
        #14
        Quote by RockGuitar92
        I do not agree with this statement.

        Leave your tonal world.
        #15
        I've seen the scale/convention been used in a medieval lute piece I think.

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        #16
        Quote by xxdarrenxx
        I've seen the scale/convention been used in a medieval lute piece I think.

        are you sure? i think there was a penalty of death on using a #5 back in those days
        #17
        Quote by Roscio
        Leave your tonal world.

        It's very important to know what the Major and Minor scales are. You don't have to think about them while playing but it is important to know them.
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        It's only after we've lost everything that we're free to do anything.

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        #18
        Quote by Funkicker
        are you sure? i think there was a penalty of death on using a #5 back in those days



        I believe you're thinking of a ♭5, also there's no evidence of stuff like that.
        #19
        Quote by RockGuitar92
        It's very important to know what the Major and Minor scales are. You don't have to think about them while playing but it is important to know them.


        Indeed, I agree, maybe..

        I think I know them enough... The point wasn't this...