Talk:Augmented seventh chord

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Aren't the chords in the chart actually major augmented 7th chords, not minor augmented 7th chords? Does the same theory information still apply? — Preceding unsigned comment added by 12.150.181.20 (talk) 16:07, 12 August 2014 (UTC)[reply]

There's a contradiction here. It is stated in the article that the augmented 7th chord as only the root as an optional note. If this is the case then it cannot be referred to as the Hendrix chord which has a perfect 5th or none at all. In either case it cannot be an Augmented 7th.

All the "Hendrix" chord is is a 7(#9) chord. Not even close to a 7(#5) (or augmented 7th). —Preceding unsigned comment added by 69.122.235.224 (talk) 04:58, 7 January 2010 (UTC)[reply]

That's not what the source you removed says. See

WP:V. Hyacinth (talk) 21:23, 5 May 2010 (UTC)[reply

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Wow! This needs to be a lot bigger! There is almost nothing here. Gingermint (talk) 04:53, 8 February 2010 (UTC)[reply]

Go ahead and expand it. Hyacinth (talk) 21:23, 5 May 2010 (UTC)[reply]

When I came to this page I was surprised to find that it erroneously described this chord as a non-dominant seventh. I can't imagine why because this chord almost always functions just like a regular old V7. Either this was just a mistake or whoever made that edit didn't know better. Of course there was no citation, so I fixed it. For any skeptics out there I submit as my source:

• Kostka, Stefan, and Dorothy Payne. 2004. Tonal Harmony with an Introduction to Twentieth-Century Music. 6th Ed. pp. 446-447. New York. ISBN-13 9780073327136. --DannyMuse (talk) 08:46, 31 July 2011 (UTC)

It would be great if this could be addressed on Nondominant seventh chord. Hyacinth (talk) 19:29, 9 January 2012 (UTC)[reply]

In my harmony theory book (Intermediate Harmony, by Mark Sarnecki) there is a reference to the Augmented Seventh Chord in the first page of the Other Diatonic Seventh chord page. This chord is notated aug7 in root-quality notation, and R+7 in functional chord notation. This chord occurs on the third degree of the harmonic and (ascending) melodic minor scale, with a functional chord notation of III+7, but this chord is very rarely used. This chord could otherwise be called a augmented-major seventh, but in Wikipedia, the aug7 chord refers to the augmented-minor seventh. This book does not make any reference to the augmented-minor seventh, but may feature one as a chromatic alteration of the dominant seventh chord.

As a result, the aug7 and +7 chord is ambiguous, because it may either mean an augmented-major seventh or an augmented-minor seventh. Could we instead call the augmented seventh chord a dominant seventh sharp five chord, with a notation of 7#5 instead?

ßlackHeart (talk) —Preceding undated comment added 02:31, 29 August 2016 (UTC)[reply]

The first paragraph of the article says: "Thus in the key of C major it would be C, E, G♯, and B♭ as in the figure." Since the augmented seventh chord has dominant function, shouldn't it be "in the key of F major"? On the other hand, I am not sure about that, so I won't edit anything. Could someone resolve this issue? — Preceding unsigned comment added by Geova21 (talk • contribs) 19:07, 22 January 2018 (UTC)[reply]

In the "Augmented seventh chord resolution in C major." image, the first chord is not the right one. It has B-D#-F-G instead of (I guess) B-D#-G-A. — Preceding unsigned comment added by 64.18.88.250 (talk) 21:30, 12 January 2019 (UTC)[reply]

I do not know how to depict the resolution to the minor chord. But as a composer who is frequented with the augmented seventh chord resolving into a minor tonic, eg G+7 into C min, I can invariably state that it doesn't have to go to major. If you have heard the chord progression enough times, the +5/7 to minor tonic sounds perfectly natural. 49.184.140.131 (talk) 15:43, 11 September 2022 (UTC)[reply]