Editing Augmented triad (section)

==Expressive and dramatic potential==
The striking sound of the augmented triad lends itself to effective [[word painting]], especially when conveying strong emotion.  The first song in [[Robert Schumann]]’s song cycle ''[[Frauen-Liebe und Leben]]'' uses the chord (F{{music|sharp}}-B{{music|flat}}-D)  on the second syllable of the word “empor” to convey the intensity of the singer’s feeling for her beloved:.  [[File:Schumann, Frauen-Liebe und Leben, No. 1.wav|thumb|Schumann, Frauen-Liebe und Leben, No. 1, bars 12-17]] [[File:Schumann, Frauen-Liebe und Leben, No. 1.png|thumb|center|500px|Schumann, Frauen-Liebe und Leben, No. 1]]In [[Purcell]]’s opera ''[[Dido and Aeneas]]'', on the other hand, the malign Sorceress planning Dido’s downfall sings the word “hate” <ref>Adams, M. (1995, p. 279), ''Henry Purcell, the origins and development of his musical style.''  Cambridge University Press.</ref> to the accompaniment of an augmented chord (F–A–D{{music|flat}}) :[[File:Dido & Aeneas from Act II, scene 1.wav|thumb|Dido & Aeneas from Act II, scene 1]][[File:Dido & Aeneas from Act II, scene 1.png|thumb|center|500px|Dido & Aeneas from Act II, scene 1]]

In J.S. [[Bach]]’s ''[[Magnificat (Bach)|Magnificat]]'', the composer sets the words “dispersit superbos mente cordis sui” (He hath scattered the proud in the imagination of their hearts) with a powerful chord sequence starting with an augmented triad (F{{music|sharp}}–A{{music|sharp}}-D) on the word “mente.”  The passage is made all the more effective by being inititated by a sudden tempo change and a beat’s silence.  This gives the chord considerable dramatic clout:[[File:Bach Magnificat, BWV 243, Fecit Potentiam, bars 20-32.wav|thumb|Bach Magnificat, BWV 243, Fecit Potentiam, bars 20-32]][[File:Bach Magnificat, BWV 243, Fecit Potentiam, bars 20-32.png|thumb|center|500px|Bach Magnificat, BWV 243, Fecit Potentiam, bars 20-32]]

In the opening scene of [[Wagner]]’s ''[[Götterdämmerung]]'', one of the three [[Norns]] conveys her dread and uncertainty about what is going to pass. “Sing, sister, wind the rope of fate.” The underlying orchestral accompaniment contains ominous augmented chords of “ambiguous tonality.”:<ref>Donington, R, (1963, p.218), ''Wagner’s Ring and its Symbols''. London, Faber.</ref>[[File:Wagner from Gotterdamerung - Norn's fateful prediction 01.wav|thumb|Wagner from Götterdämmerung - Norn's fateful prediction]][[File:Wagner from Gotterdamerung - Norn's fateful prediction.png|thumb|center|500px|Wagner from ''[[Götterdämmerung]]'' - Norn's fateful prediction]]