Editing Augmented triad (section)

==In popular music==
Examples of [[popular music]] songs featuring the augmented chord include its  use in the [[introduction (music)|introduction]] of [[Chuck Berry]]'s "[[School Days (Chuck Berry song)|School Days]]", [[Aaron Neville]]'s "[[Tell It Like It Is (song)|Tell It Like It Is]]", [[The Beatles]]' "[[Oh! Darling]]", after intros in [[Gene Pitney]]'s "[[Town Without Pity (song)|Town Without Pity]]", [[The Beach Boys]]' "[[The Warmth of the Sun]]", [[Joe Cocker]]'s "[[Delta Lady]]", at the end of the [[bridge (music)|bridge]] in [[Patience and Prudence]]'s "[[Tonight You Belong to Me]]", [[The Caravelles]]' "[[You Don't Have to Be a Baby to Cry]]", The Beatles' "[[From Me to You]]", [[The Dave Clark Five]]'s "[[Glad All Over]]", and [[Martha and the Vandellas]]' "[[Dancing in the Street]]".<ref name="Everett">{{cite book|last=Everett|first=Walter|date=2009|title=The Foundations of Rock|pages=196–197|isbn=978-0-19-531023-8}}</ref> One of the few examples of an augmented chord on the opening downbeat is in the [[Carmen Lombardo]] song "[[Seems Like Old Times (song)|Seems Like Old Times]]": in ''Barber Shop Memories, Book 2''<ref name="Barber Shop Memories">{{cite book|title=Barber Shop Memories, Book 2|date=February 1984 |page=20|isbn=0-7692-4389-4}}</ref> the 4-part vocal score for the song  (in the key of F) uses B{{music|b}}–D–F{{music|#}} to harmonize the downbeat as IV+ (the [[enharmonic equivalent]] of VI+). An augmented chord also harmonizes the opening downbeat of the chorus of the 1908 song "[[Shine On, Harvest Moon]]", heard at the beginning of the 1931 recording by [[Ruth Etting]].<ref name="1931 recording)">"Shine On, Harvest Moon" (1931 recording), Etting, https://www.youtube.com/watch?v=dxoNi8mJ2Yk</ref>{{Image frame|content=<score sound="1">
{
\omit Score.TimeSignature
\relative c' {
<c e g>1_\markup { "I" \hspace #6.5 "I+" \hspace #6 "ii" } <c e gis> <d f a>1 \bar "||"
} }
</score>

<score sound="1">
{
\omit Score.TimeSignature
\relative c' {
<c f a>1_\markup { "IV" \hspace #5.5 "I+" \hspace #6 "I" } <c e gis> <c e g>1 \bar "||"
} }
</score>|width=300|caption=Augmented chords from chromatic passing motion, ascending ("(Just Like) Starting Over") and descending ("All My Loving").<ref name="Stephenson">{{cite book|title=What to Listen for in Rock: A Stylistic Analysis|last=Stephenson|first=Ken|date=2002|isbn=978-0-300-09239-4|page=[https://archive.org/details/whattolistenfori0000step/page/87 87]|url=https://archive.org/details/whattolistenfori0000step/page/87}}</ref>}}Other examples of the augmented chord include its use as a chromatic [[Passing chord|passing function]] over the first degree, the {{music|scale|5}} rising to {{music|#}}{{music|scale|5}} then {{music|scale|6}} harmonized as IV, as in [[Jay and the Americans]]' "[[Some Enchanted Evening (song)|Some Enchanted Evening]]", [[Lesley Gore]]'s "[[It's My Party (Lesley Gore song)|It's My Party]]" (I – I+ – IV – iv) (see also [[minor major seventh chord]]), [[Herman's Hermits]]' "[[There's a Kind of Hush]]" (continues to {{music|b}}7 harmonized by Im<sup>7</sup>), by ii [[Roy Orbison]]'s "[[Crying (Roy Orbison song)|Crying]]", followed by 6 – {{music|b}}6 – 5 motion in "Crying", [[The Guess Who]]'s "[[Laughing (The Guess Who song)|Laughing]]", Dave Clark Five's "[[Because (The Dave Clark Five song)|Because]]" (verse: I – I+ – vi – Im<sup>7</sup>... ii and cadence on V+), [[The Monkees]]' "[[Tapioca Tundra]]" (I – I+ – vi, and V+ after bridge).<ref name="Everett" />

Though rare, the augmented chord occurs in [[rock music]] "almost always as a linear embellishment linking an opening tonic chord with the next chord", for example [[John Lennon]]'s "[[(Just Like) Starting Over]]" and The Beatles' "[[All My Loving]]".<ref name="Stephenson">{{cite book|title=What to Listen for in Rock: A Stylistic Analysis|last=Stephenson|first=Ken|date=2002|isbn=978-0-300-09239-4|page=[https://archive.org/details/whattolistenfori0000step/page/87 87]|url=https://archive.org/details/whattolistenfori0000step/page/87}}</ref> Thus, with an opening tonic chord, an augmented chord results from ascending or descending movement between the fifth and sixth degrees, such as in the chord progression I – I+ – vi.<ref name="Stephenson" /> This progression forms the verse for [[Oasis (band)|Oasis]]'s 2005 single "[[Let There Be Love (Oasis song)|Let There Be Love]]" (I – I+ – vi – IV)