![]() ![]() So we have Am(maj7) covered by a C Augmented. They can fill in for the interesting minor with major 7th chord, i.e, Am(maj7). Augmented triads aren’t quite as versatile, but they still have one substitution. What is that? Its everything above the root in C7, C E G Bb. Yes, we won’t have the C#, unless its in the melody, but the sense of the chord will be there.ĭiminished triads have their extra use, too. But wait, we got one more, it can also fill in for A9. That same E G B, Em minor triad, can also substitute for C#m7b5. And obviously, these work all up down the 12 notes of the chromatic scale. ![]() The E minor triad, E G B, will work for the Cmaj7, as Cmaj7th is C E G B, and again, we assume the bass helps us out. Herewith is the Music Theory lesson: A normal major triad, for example C E G, can be used in place of its relative minor 7th, in this case, Am7, since that is A C E G, and we can presume the bass would play the A. But as I thought about it, the amazing value of triads hit me in the face. I know there is already one that Phil did, I believe. ![]()
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