How To Shred On Augmented Scales (20 Exercises) 

For sheet music of all 20 Exercises in all 12 keys: www.jazzlessonvideos.com/pdf-packages Mouthpiece: use $10 coupon code CHADXSYOS at www.syos.co/en/shop/products/signature-saxophone-mouthpiece/chad-lefkowitz-brown-tenor

I have to be honest, I like how it sounds over the dominant chord.

Thank you Super Chad LB for posting and demonstrating such great talent. Love it.

Great video, i personally love using the augmented scale from the 9th of any minor scale. For example E augmented sounds great over D-. Sounds killer when you emphasize the F augmented triad

Thank you for sharing your knowledge!

Thanks for your quality content! Can't wait for more bebop phrasing exercises!

Thank you Chad, very cool!

Excellent! Thanks.

OMG these sound amazing!

This is great content!

How on earth this video gets any dislikes is totally above and beyond me!! 🤦🏾‍♂️ Great job Chad! These are very hip sounding lines 👏🏾 👏🏾 👏🏾

You're awesome!

Amazing

Yeah! Awesome!

Really nice video!

great stuff👍👍

Thanks... The great........

I've been using these for a while but it was very random, this gives it a form that is going to make it sound like i'm not bluffing.

Awesome, got my copy :)

I find it realy good in the cromatic scales.

dope! really great videos. Why couldn't you use a B augmented scale over a Bb7 chord? The intervals would be b9, 3, 4, #5, 13, root. I get why you say don't use the Bb augmented scale over a Bb7 because of the A natural but I think that clash is cool depending on the context.

Great info! Your horn sounds awesome btw. You could do a video comparing yours to other ones, talking about the sonic differences.

It's a cool scale. Learn it and use it whenever you feel it.

My song "Obsession" has a ton of augmented scale at the end. Probably the final 45 seconds. The rhythm section is hanging out in F# Dorian and all of the sudden, there's all this A augmented scale stuff going on with the strings and guitar ad-libs over the top of it and it all fits together like it's not even a thing. It can be found on RU-vid under my name for those who are curious to hear the effect.

So the augmented scale is Messiaen's fourth mode of limited transposition? Also, I'm pretty sure this scale is used as the basis for the melodies to Kneebody's "Drum Battle" and Miles Davis' "Bitches Brew". Love your educational content by the way. You make a very clear connection between theory and practice which is super motivating.

Augmented scale totally works over dominant chords to my ear, particularly if you include the notes of the parallel whole tone scale, turning it into the 3rd Messiaen Mode. That mode sounds beautiful over dominant chords and contains all the notes of the augmented scale.

First, I’m absolutely going to get this guide. Second, Chad (hey, Chad! Thanks for coming to Portland recently, come back) is sort of right and sort of wrong on where to use the augmented scale. (I’m saying this after having looked at the video only to 2:25, apologies if he covered this later). Let’s grant that it sounds great and colorful over a Maj 7. Now, there is NOTHING that says that many dominant 7s cannot be sus chords. Think instead of C7 a C7sus13. Well, that’s Bbmaj7 over C. Now, Chad says use the scale over a maj7. So, in this case (and I do this all the time) play the pattern over Bb instead of C. What do you do with min or min7 chords? Let’s assume min as the tonic. This tends to favor scales like natural minor. How about using the augmented scale lick starting on the 5th? If think of Softly As in a Morning Sunrise in Cmin, you could use aug scale licks starting on G. (A fun way to think of these are as triad pairs, too, Ebmin and Gmaj triads, e.g.,).What if you’re dealing with a minor 7 chord as a ii? Just look for the maj7 shape, just like we did with the dominant 7 chord (using the sus). That’s easy. As for”clashes”, I would worry less about these at fast tempos, where the “clash” comes from a vertical understanding of proper sonority, but everyone is listening horizontally at that point. And, frankly, even on ballads, you don’t have to stay on the dissonance any longer than you need to. Major thirds over minor keys either resolve within the scale by a half-step down (no problem), a half-step up (no problem), or a minor third, which could be ear-rationalized as part of a the dominant chord,delayed. On Softly, e.g., an E natural on the downbeat of 1 is part of a (say) F augmented scale, which outlines Fmaj7, which is part of a G7sus. And, note that there is a Db major chord built into the F augmented scale. Finding your way from that E on the downbeat to a Db triad to a Cmin resolution is easy, natural, and the tension is rationalized in a couple of ways where the dominant/tonic thing elicits logic. The key for me in my work is to develop much more facility and the tension release horizontally and vertically, and get patterns under my fingers, so I have options for beautiful resolution. Chad’s stuff is fantastic, and has helped me so much. Every week I use his stuff. Get it. Support this national-level musician who is so generous, talented, and disciplined! Kudos!

a bit off topic, but what kind of a camera are you using? Looks good!

hey chad, i sent a message through the jazzlessonvideos site, but havent received a response, is there a way i could get a hold of you to ask about some materials i purchased?

Hey Chad,do u make a hard book copy of all ur scales for sale?

C aug scale on a D7#11/13 or F#7#11/13 or Bb7#11/13 should work just fine, also min7b5 like F#min7b5 etc.

Seems that on the 5th example descending, the notes written on the bottom are an error, they are not written chromatic.

5:21 the word 'being' in Db

When you play over the ‘major chord’ it says major 7? But it’s really just (B flat major chord) If only you would have said the (names of chords) I would’ve commented best guitar lesson ever.

Sorry that was supposed to say A Minor 7 flat 5. You can use the augmented on any cord you just have to know which one to use

How would you use this on a II-V-I in C Major... would u use the C Aug scale???

Got to disagree about where you can put the scale, Trane uses the augmented built from the b9 of a dom7+5 chord all over One Down, One Up. In Walt Weiskopf's book on this scale he says you can stick it anywhere you have a maj7+5 sound inside, eg dom+11, half diminished, altered, minor/major7 etc. There are aways going to be some "wrong" notes using this scale, but need to find the appropriate scale with the important chord tones, and then just need to get used to thinking of the relative scale from the chord.

9:11

Sounds damn nice on the dominant chord to me though…

It would also work over a Maj9, 9#5, Maj13#5, mMaj7, mMaj9... :)

Like Ethiopians music ,!

C Augmented sounds pretty good on a C7#9.

The chromaticism added sounds very Coltrane

You're giving out false information. You can use it on a minor dominant 7th or major chord or -7 + 5. You have to know which one to use over these chords

On a G alt chord you can use a G aug (Ab Melodic Minor) this is your basic b5 substituion. Your playing over Db9 (iV Chord which shares 2 notes in conman with a G7) a chord who's parent scale is Ab Melodic Minor. Playing a aug scale over a major 7 chord makes no sense at all. Not sure where you got your information, but what your are saying is wrong.

The way you're moving your sax back an forward.... does not agree with my drunkenness. Good info though.