ripock
Well-known member
I've been racking my brain, and my fingers, trying to figure out the turnaround, Cmaj7, Eb7, D7, C#7 (and they are all doms and not minor doms; that was a typo). My wife noticed that the sound just doesn't work. She isn't musical. So she's coming at it as merely an audience member. To her ears, if I may put words in her mouth, the turnaround is bluesy whereas the progression is jazzy (my words and not hers). I have been trying different chord qualities to try and find something a little more concordant. Hitherto I haven't found what I'm looking for.
I've made a bit of a discovery with my augmented chords. It isn't a discovery in the sense that I've found something that no one has ever seen. If I had just read Brad Bordessa's materials more closely I probably could have seen it. Regardless, I did discover that, if one uses the three-string versions (which I prefer) of the augmented chord, there are only two shapes to cover the entire fretboard. They are:
322X
X221
The trick is to realize that any of the three notes can be the root. So now instead of memorizing all those darned first position shapes that they teach you in the ukulele chord books, I have one shape for every string (well, the middle two strings have two shapes). Now I can intelligently play any augmented chord anywhere on the fret board.
It is similar to the diminished 7 chords. When you begin playing, you learn the basic dim7 shape: 1212 and then you learn that you can get a different voicing of that chord if you move three frets. That's true, but that requires you to do all this counting. That takes too much time. However if you know that you want, for example, a B dim7, all you need to do is move the 1212 shape to a place where one of the notes of the shape is a B. That's much easier.
I've made a bit of a discovery with my augmented chords. It isn't a discovery in the sense that I've found something that no one has ever seen. If I had just read Brad Bordessa's materials more closely I probably could have seen it. Regardless, I did discover that, if one uses the three-string versions (which I prefer) of the augmented chord, there are only two shapes to cover the entire fretboard. They are:
322X
X221
The trick is to realize that any of the three notes can be the root. So now instead of memorizing all those darned first position shapes that they teach you in the ukulele chord books, I have one shape for every string (well, the middle two strings have two shapes). Now I can intelligently play any augmented chord anywhere on the fret board.
It is similar to the diminished 7 chords. When you begin playing, you learn the basic dim7 shape: 1212 and then you learn that you can get a different voicing of that chord if you move three frets. That's true, but that requires you to do all this counting. That takes too much time. However if you know that you want, for example, a B dim7, all you need to do is move the 1212 shape to a place where one of the notes of the shape is a B. That's much easier.