When the interval between the root note (1st Note of the scale) and the 5th note is raised by one semitone we say

it is AUGMENTED. In terms of the Tonic Solfa we raise 'So' by a half tone. The full chord is 'Do', 'Mi' and 'So raised

1/2 tone'. In Ukuele tablature it is shown as a ' ' or 'aug': thus C or Caug = C augmented. It is the Major chord

we are augmenting and it is the 5th note only which is raised. The 1st and 3rd notes are not changed. Augmented

major chords have the effect of 'swelling' the sound and emotional quality of the preceding sound - also (usually) a

major chord. Now since we are changing one note of a triad or 3 note chord, Augmented majors are also triads.

This means that they have 3 root notes. Each of its seperate distinct notes are its roots. It follows there are four

chord positions to cover all 12 keys in the octave. Now you will frequently see these chords as 4 note 'tetrachords'

but, like any triad chord one note must always be duplicated. In the case of Aug chords it is always the top and

bottom notes which are the same - so why play them both? Here is the way I play them (Gstring is always mute):

1st Position Augmented 2nd Position Augmented 3rd Position Augmented 4th Position Augmented

By eliminating the duplicated note which is always on the G string I play augmented chords in a "Dm shape" but

only on A,E & C strings. I do not sound the G string.

As with the diminished chords continuing to play these chords higher up the neck of the Ukulele simply repeats

these augmented chords. So, at frets 4 and 5 we will repeat A , C# and F and so on. This is hardly worth

the bother unless your previous chord was played further up the neck when you might substitute an aug chord

near to where this previous major was played. It is your call..........

"AUGMENTED 7" CHORDS (ALSO KNOWN AS "7 sharp 5" or JUST "7 5" CHORDS)

The augmented 7th, also called the 7 5 chord is played frequently in Jazz riffs. Often it is played during a set of

chord progressions such as this "outro":- Dm7->G9->C13->C11->FM7 where you play each chord twice to the end.

{Do not concern yourself if you cannot find these chords in these pages. They are Jazz chords and you will find them

later in your musical journey. It took me about 3 years to "get the hang" of these chords. It is for a future lesson!)

A 7 5 chord is built like this: You locate the 7 chord and raise the 5th note of that scale by one fret (or semitone).

About the " " sign: When you see a " 5" it refers to the 5th note being a sharp by raising just that note by 1 fret

In music a plus sign " " means "sharp" It does not mean you "add" it on. If you are to add a note the writer will say

so. OK now that's is enough for this piece of music theory....... Let us now look at a few '7 5' chords:

Can you see the 7 chord in the above examples and then can you see the sharp 5 note in each of them?

3 examples of the 1st form 3 examples of the 2nd form 2 of the 3rd form 3 of the 4th form

Use your pointer Twist your wrist firmly to the twist your wrist to Here you must make a

to play the 2 middle notes pinky side of the hand, use pinky as before. Use good bar over the "4"

your long finger for A string your long, ring and pinky for the index for G string notes and flatten the

and ring finger for G string the G,C and A strings. Use and others as in the long finger to cover

your index for the E string. 2nd form of chords the middle strings.

Alt: do it like 1st form

These 4 forms can be played up the neck for as long as you enjoy the sounds you make. Thus you build up

your options to play these "7 5" chords wherever you find yourself on the fretboard as you close out a song..