Editing Augmented triad

{{Short description|Musical chord}}
{{redirect|Augmented dominant chord|seventh chord|Augmented dominant seventh chord}}
{{redirect|Faug|the video game|Fearless and United Guards}}
{{Infobox chord| 
chord_name=augmented triad|
first_interval=[[Root (chord)|root]]|
second_interval=[[major third]]|
third_interval=[[augmented fifth]]|
tuning=[[just intonation|16:20:25]]|
forte_number=3-12|
complement=9-12
}}

An '''augmented triad''' is a [[chord (music)|chord]], made up of two [[major third]]s (an [[augmented fifth]]). The term ''augmented triad'' arises from an augmented triad being considered a [[major chord]] whose top note (fifth) is raised.  When using [[Chord names and symbols (popular music)|popular-music symbols]], it is indicated by the symbol "+" or "aug". For example, the augmented triad built on A{{music|flat}}, written as A{{music|flat}}+, has pitches A{{music|flat}}-C-E:<blockquote><score sound="1">
{ \omit Score.TimeSignature \relative c' { <as c e>1 } }
</score></blockquote>The chord can be represented by the [[Pitch class#Integer notation|integer notation]] {0,&nbsp;4,&nbsp;8}.

==Analysis==
Whereas a [[Major chord|major triad]], such as C–E–G, contains a [[major third]] (C–E) and a minor third (E–G), with the interval of the fifth (C–G) being [[Interval quality|perfect]], the augmented triad has an [[augmented fifth]], becoming C–E–G{{music|sharp}}. In other words, the top note is raised a [[semitone]]. H.R. Palmer notes:

{{blockquote|The augmented chord, (which appears upon three of the minor key,) is commonly found upon one, four, or five of a major key. In its resolution the fundamental may either remain stationary, descend five degrees, or ascend four degrees; the third may either ascend a minor second [I+, IV ({{audio|Augmented chord progression I+ IV Palmer.mid|Play}}) and I+, IV{{su|p=6|b=4}} ({{audio|Augmented chord progression I+ IV64 Palmer.mid|Play}})], or remain stationary [I+, vi{{su|p=6|b=3}} ({{audio|Augmented chord progression I+ vi63 Palmer.mid|Play}})]; and the fifth ascends a minor second. The inversions of the augmented chord may also be used [I+{{sup|{{music|sharp}}6}}, IV ({{audio|Augmented chord progression I+sharp6 IV Palmer.mid|Play}}) and I+{{su|p=6|b=4}}, IV{{sup|6}} ({{audio|Augmented chord progression I+64 IV6 Palmer.mid|Play}})].<ref name="Palmer">{{cite book|last=Palmer|first=H. R.|date=1876|url=https://archive.org/details/palmerstheoryofm00palm|quote=augmented chord.|title=Palmer's Theory of Music|pages=[https://archive.org/details/palmerstheoryofm00palm/page/91 91]–92|publisher=J. Church}}{{pre-ISBN}}</ref>|sign=|source=}}

The augmented chord on I may contain the [[Augmented major seventh chord|major seventh]] (I{{su|p=7|b=5}} ({{audio|Augmented chord progression I+75 IV Palmer.mid|Play}}) or I{{su|p=6|b=5}} ({{audio|Augmented chord progression I+65 IV Palmer.mid|Play}})), while the augmented chord on V may contain the [[Augmented seventh chord|minor seventh]] (V{{su|p=7|b=5}} ({{audio|Augmented chord progression V+75 I Palmer.mid|Play}}), V{{su|p=6|b=5}} ({{audio|Augmented chord progression V+65 I Palmer.mid|Play}}), or V{{su|p=4|b=3}} ({{audio|Augmented chord progression V+43 I63 Palmer.mid|Play}})).<ref name="Palmer" /> In C: C–E–G{{music|#}}–B and G–B–D{{music|#}}–F.

The augmented triad on the V may be used as a [[chord substitution|substitute]] [[dominant chord|dominant]], and may also be considered as {{music|b}}III+.<ref>{{cite book|last=Cho|first=Gene|date=1992|title=Theories and Practice of Harmonic Analysis|page=35|isbn=0-7734-9917-2}}</ref> The example below shows {{music|b}}III+ as a substitute dominant in a [[Ii–V–I progression|ii-V-I turnaround]] in C major.<blockquote><score sound="1">
{
\omit Score.TimeSignature
\relative c' {<d f a c>2 <es g b> <c e g c>1 \bar "||" } }
</score></blockquote>
See, for example, Henry [[Purcell]]'s ''[[Dido & Aeneas]]''.[[File:Purcell from Dido & Aeneas, Act 2, scene 1, echo chorus 01.wav|thumb|Purcell from Dido & Aeneas, Act 2, scene 1, echo chorus]][[File:Purcell from Dido & Aeneas, Act 2, scene 1, echo chorus.png|thumb|center|500px|Purcell from Dido & Aeneas, Act 2, scene 1, echo chorus]]


==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)

==In classical music==
The augmented triad differs from the other kinds of triad (the [[Major chord|major triad]], the [[Minor chord|minor triad]], and the [[diminished triad]]) in that it does not naturally arise in a [[diatonic scale]]. Although it could be conceptualized as a triad built on the third degree of a [[harmonic minor scale]] or [[melodic minor scale]], it virtually never occurs in this way due to the harsh [[consonance and dissonance|dissonance]] of the chord.

Striking examples of its use may be found in [[Mozart]]’s keyboard minuet K355. It first occurs as a [[passing chord]] on the third beat of bar 1 (D{{music|sharp}}–G–B).  However it comes into more striking prominence in the 6-bar [[Sequence (music)|sequential]] passage starting on the first beat of bar 5 (D-F{{music|sharp}}–A{{music|sharp}}):

[[File:Mozart, Minuet, K355.wav|thumb|Mozart, Minuet, K355]][[File:Mozart, Minuet, K355.png|thumb|center|500px|Mozart, Minuet, K355]]

According to Aubyn Raymar, in this minuet “flowing counterpoints woven among closely crowded chromaticisms and richly variegated harmony, sequential progressions in either direction coupled with unexpected dissonance… - such resources used with a mastery of concentration intensify the emotion which stirs within the brooding phrases of a perfectly balanced poem.” <ref>Raymar, A. (1931, p.3) introduction to Mozart: Miscellaneous Pieces for Pianoforte.  London, Associated Board of the Royal schools of Music.</ref>

Its rarity makes the augmented triad a special chord that touches on the [[atonal]]. Its uses to 'suspend' tonality are famous; for example, in [[Arnold Schoenberg]]'s "Walzer" (''Fünf Klavierstücke'' Op. 23 No. 5). An earlier example may be found at the opening of [[Franz Liszt]]'s ''[[Faust Symphony]]'', where a sequence of augmented triads unfolds as [[arpeggio]]s: [[File:Liszt 'Faust' Symphony, opening 01.wav|thumb|Liszt 'Faust' Symphony, opening]] [[File:Liszt 'Faust' Symphony, opening 02.png|thumb|center|500px|Liszt 'Faust' Symphony, opening]]

However, the augmented triad occurs in tonal music, with a perfectly tonal meaning, since at least [[J. S. Bach|J.S. Bach]]. See the "surprising" <ref>Whittaker, W.G. (1924, p.34), ''Bach's Cantatas'', Oxford University Press</ref> first chord  (D–F{{music|sharp}}–B{{music|flat}}) in the opening chorus to his cantata ''[[Ach Gott, vom Himmel sieh darein, BWV 2]]'': [[File:Bach Cantata BWV 2 opening chorus 01.wav|thumb|Bach Cantata BWV 2 opening chorus]][[File:Bach Cantata BWV 2 opening chorus 02.png|thumb|center|500px|Bach Cantata BWV 2 opening chorus]]. Other examples may be found in the work of [[Joseph Haydn]]. See, for example, bars 5-8 of the Trio from Haydn's String Quartet Op. 54 No. 2:<ref>For further discussion, see {{cite journal|first=Mark|last=Ellis|title=A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler|location=Farnham|publisher=Ashgate|date=2010|pages=23, 30–31}}</ref>  [[File:Haydn Quartet, Op. 54 No. 2, minuet, Trio section 01.wav|thumb|Haydn Quartet, Op. 54 No. 2, minuet, Trio section]][[File:Haydn Quartet, Op. 54 No. 2, minuet, Trio section.png|thumb|center|500px|Haydn Quartet, Op. 54 No. 2, minuet, Trio section]] -also in [[Richard Wagner]]'s ''[[Siegfried Idyll]]'': [[File:Wagner Siegfried Idyll bars 148-153.wav|thumb|Wagner Siegfried Idyll bars 148-153]][[File:Wagner Siegfried Idyll bars 148-153.png|thumb|center|500px|Wagner Siegfried Idyll bars 148-153]]-and in [[Chopin]]’s stormy [[Preludes (Chopin)|Prelude]] No. 24.  The left hand piano arpeggios outline an augmented triad (D{{music|flat}}–F-A) in bars 47-50.  The sudden change in [[dynamics (music)|dynamics]] from ''forte'' to a hushed ''piano'' in these bars highlights the emotional intensity of this passage: [[File:Chopin Prelude No. 24, bars 43-51.wav|thumb|Chopin Prelude No. 24, bars 43-51]] [[File:Chopin Prelude No. 24, bars 43-52.png|thumb|center|500px|Chopin Prelude No. 24, bars 43-51]]An augmented triad results diatonically in minor mode from a [[dominant chord]] where the fifth (the second degree) is replaced by the third degree, as an anticipation of the resolution chord. [[Johannes Brahms]]'s ''[[Tragic Overture]]'' also features the chord prominently (A–C{{music|sharp}}–E{{music|sharp}}), in alternation with the regular dominant (A–C{{music|sharp}}–E). In this example one can also see other aspect of the appeal of the chord to composers: it is a 'conflation' of the fifth degree and the third degree, the usual contrasting keys of a piece in the minor mode.

The "whirl of the final bars" of [[Symphony No. 7 (Mahler)|Mahler’s Symphony No. 7]]<ref>De La Grange, H. (1999, p.880) ''Gustav Mahler, Volume 3'' Oxford University Press.</ref> features an abrupt interpolation of an augmented chord (E–G{{music|sharp}}–C) in the [[penultimate]] bar, before the final chord of C major:[[File:Mahler Symphony No. 7 concluding bars 01.wav|thumb|Mahler Symphony No. 7 concluding bars]][[File:Mahler Symphony No. 7 concluding bars.png|thumb|center|500px|Mahler Symphony No. 7 concluding bars]]

With the lead of [[Franz Schubert]] (in his ''[[Wanderer Fantasy]]''), [[romantic music|Romantic]] composers started organizing many pieces by descending major thirds, which can be seen as a large-scale application of the augmented triad (although it probably arose from other lines of development not necessarily connected to the augmented triad). This kind of organization is common; in addition to Schubert, it is found in music of Franz Liszt, [[Nikolai Rimsky-Korsakov]], [[Louis Vierne]] and Richard Wagner, among others.

==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]]

==Tuning==
[[File:Comparison of augmented triads (0,4,8).png|thumb|Comparison, in cents, of augmented triad tunings]]In [[just intonation]], the interval between two major thirds and an octave, 2:(5:4)<sup>2</sup>, is 32:25, which is flatter by a [[septimal kleisma]] of size 225:224 than the [[septimal major third]] with ratio 9:7. While [[septimal meantone temperament]] tempers out the septimal kleisma, some other temperaments, for example [[miracle temperament]], do so also, and in all of these temperaments the augmented triad may be identified with a circle of two major and one septimal major thirds, making up an octave.

==Augmented chord table==
:{| class="wikitable"
!Chord
!Root
!Major third
!Augmented fifth
|-
!C{{music|b}}aug
|C{{music|b}}
|E{{music|b}}
|G
|-
!Caug
|C
|E
|G{{music|#}}
|-
!C{{music|#}}aug
|C{{music|#}}
|E{{music|#}} (F)
|G{{music|##}} (A)
|-
!D{{music|b}}aug
|D{{music|b}}
|F
|A
|-
!Daug
|D
|F{{music|#}}
|A{{music|#}}
|-
!D{{music|#}}aug
|D{{music|#}}
|F{{music|##}} (G)
|A{{music|##}} (B)
|-
!E{{music|b}}aug
|E{{music|b}}
|G
|B
|-
!Eaug
|E
|G{{music|#}}
|B{{music|#}} (C)
|-
!E{{music|#}}aug
|E{{music|#}}
|G{{music|##}} (A)
|B{{music|##}} (C{{music|#}})
|-
!F{{music|b}}aug
|F{{music|b}}
|A{{music|b}}
|C
|-
!Faug
|F
|A
|C{{music|#}}
|-
!F{{music|#}}aug
|F{{music|#}}
|A{{music|#}}
|C{{music|##}} (D)
|-
!G{{music|b}}aug
|G{{music|b}}
|B{{music|b}}
|D
|-
!Gaug
|G
|B
|D{{music|#}}
|-
!G{{music|#}}aug
|G{{music|#}}
|B{{music|#}} (C)
|D{{music|##}} (E)
|-
!A{{music|b}}aug
|A{{music|b}}
|C
|E
|-
!Aaug
|A
|C{{music|#}}
|E{{music|#}} (F)
|-
!A{{music|#}}aug
|A{{music|#}}
|C{{music|##}} (D)
|E{{music|##}} (F{{music|#}})
|-
!B{{music|b}}aug
|B{{music|b}}
|D
|F{{music|#}}
|-
!Baug
|B
|D{{music|#}}
|F{{music|##}} (G)
|-
!B{{music|#}}aug
|B{{music|#}}
|D{{music|##}} (E)
|F{{music|#}}{{music|##}} (G{{music|#}})
|}

== See also ==
*[[Altered chord]]
*[[Diminished triad]]
*[[Giant Steps (composition)]] and [[Coltrane changes]]

== Notes ==
{{reflist}}

== Further reading ==
* {{cite book|last=Kroepel|first=Bob|title=Deluxe Encyclopedia of Piano Chords|publisher=Mel Bay|date=1993|page=12|isbn=978-0-87166-579-9}}
* {{cite book|first=Mark|last=Ellis|title=A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler|location=Farnham|publisher=Ashgate|date=2010|pages=23, 30–31}}
{{Chords}}

{{DEFAULTSORT:Augmented Triad}}
[[Category:Chords]]
[[Category:Musical symmetry]]