An augmented triad is a chord, made up of two major thirds (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 popular-music symbols, it is indicated by the symbol "+" or "aug". For example, the augmented triad built on A♭, written as A♭+, has pitches A♭-C-E:
Whereas a 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 perfect, the augmented triad has an augmented fifth, becoming C–E–G♯. In other words, the top note is raised a semitone. H.R. Palmer notes:
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 (Playⓘ) and I+, IV6 4 (Playⓘ)], or remain stationary [I+, vi6 3 (Playⓘ)]; and the fifth ascends a minor second. The inversions of the augmented chord may also be used [I+♯6, IV (Playⓘ) and I+6 4, IV6 (Playⓘ)].[1]
The augmented chord on I may contain the major seventh (I7 5 (Playⓘ) or I6 5 (Playⓘ)), while the augmented chord on V may contain the minor seventh (V7 5 (Playⓘ), V6 5 (Playⓘ), or V4 3 (Playⓘ)).[1] In C: C–E–G♯–B and G–B–D♯–F.
The augmented triad on the V may be used as a substitutedominant, and may also be considered as ♭III+.[2] The example below shows ♭III+ as a substitute dominant in a ii-V-I turnaround in C major.
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".[6] 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.[6] This progression forms the verse for Oasis's 2005 single "Let There Be Love" (I – I+ – vi – IV)
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♯–G–B). However it comes into more striking prominence in the 6-bar sequential passage starting on the first beat of bar 5 (D-F♯–A♯):
Mozart, Minuet, K355Mozart, 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.” [7]
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 arpeggios:
Liszt 'Faust' Symphony, openingLiszt 'Faust' Symphony, opening
However, the augmented triad occurs in tonal music, with a perfectly tonal meaning, since at least J.S. Bach. See the "surprising" [8] first chord (D–F♯–B♭) in the opening chorus to his cantata Ach Gott, vom Himmel sieh darein, BWV 2:
-and in Chopin’s stormy Prelude No. 24. The left hand piano arpeggios outline an augmented triad (D♭–F-A) in bars 47-50. The sudden change in dynamics from forte to a hushed piano in these bars highlights the emotional intensity of this passage:
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♯–E♯), in alternation with the regular dominant (A–C♯–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 Mahler’s Symphony No. 7[10] features an abrupt interpolation of an augmented chord (E–G♯–C) in the penultimate bar, before the final chord of C major:
With the lead of Franz Schubert (in his Wanderer Fantasy), 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♯-B♭-D) on the second syllable of the word “empor” to convey the intensity of the singer’s feeling for her beloved:.
Schumann, Frauen-Liebe und Leben, No. 1, bars 12-17Schumann, 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” [11] to the accompaniment of an augmented chord (F–A–D♭):
Dido & Aeneas from Act II, scene 1Dido & Aeneas from Act II, scene 1
In J.S. Bach’s 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♯–A♯-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:
Bach Magnificat, BWV 243, Fecit Potentiam, bars 20-32Bach 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.”:[12]
Wagner from Götterdämmerung - Norn's fateful predictionWagner from Götterdämmerung - Norn's fateful prediction
Tuning
Comparison, in cents, of augmented triad tunings
In just intonation, the interval between two major thirds and an octave, 2:(5:4)2, 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.
↑ Raymar, A. (1931, p.3) introduction to Mozart: Miscellaneous Pieces for Pianoforte. London, Associated Board of the Royal schools of Music.
↑ Whittaker, W.G. (1924, p.34), Bach's Cantatas, Oxford University Press
↑ For further discussion, see Ellis, Mark (2010). "A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler". Farnham: Ashgate: 23, 30–31.{{cite journal}}: Cite journal requires |journal= (help)
↑ De La Grange, H. (1999, p.880) Gustav Mahler, Volume 3 Oxford University Press.
↑ Adams, M. (1995, p. 279), Henry Purcell, the origins and development of his musical style. Cambridge University Press.
↑ Donington, R, (1963, p.218), Wagner’s Ring and its Symbols. London, Faber.
Further reading
Kroepel, Bob (1993). Deluxe Encyclopedia of Piano Chords. Mel Bay. p.12. ISBN978-0-87166-579-9.
Ellis, Mark (2010). A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler. Farnham: Ashgate. pp.23, 30–31.
In music theory, an interval is a difference in pitch between two sounds. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord.
In music theory, the tritone is defined as a musical interval spanning three adjacent whole tones. For instance, the interval from F up to the B above it is a tritone as it can be decomposed into the three adjacent whole tones F–G, G–A, and A–B.
In music, two written notes have enharmonic equivalence if they produce the same pitch but are notated differently. Similarly, written intervals, chords, or key signatures are considered enharmonic if they represent identical pitches that are notated differently. The term derives from Latin enharmonicus, in turn from Late Latin enarmonius, from Ancient Greek ἐναρμόνιος, from ἐν ('in') and ἁρμονία ('harmony').
In music, a chord is a group of three or more notes played simultaneously, typically consisting of a root note, a third, and a fifth. Chords are the building blocks of harmony and form the harmonic foundation of a piece of music. They can be major, minor, diminished, augmented, or extended, depending on the intervals between the notes and their arrangement. Chords provide the harmonic support and coloration that accompany melodies and contribute to the overall sound and mood of a musical composition. For many practical and theoretical purposes, arpeggios and other types of broken chords may also be considered as chords in the right musical context.
In music, modulation is the change from one tonality to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization.
Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation.
In music from Western culture, a sixth is a musical interval encompassing six note letter names or staff positions, and the major sixth is one of two commonly occurring sixths. It is qualified as major because it is the larger of the two. The major sixth spans nine semitones. Its smaller counterpart, the minor sixth, spans eight semitones. For example, the interval from C up to the nearest A is a major sixth. It is a sixth because it encompasses six note letter names and six staff positions. It is a major sixth, not a minor sixth, because the note A lies nine semitones above C. Diminished and augmented sixths span the same number of note letter names and staff positions, but consist of a different number of semitones.
The intervals from the tonic (keynote) in an upward direction to the second, to the third, to the sixth, and to the seventh scale degrees (of a major scale are called major.
In Classical music theory, a Neapolitan chord is a major chord built on the lowered (flattened) second (supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II, since in minor scales the chord is built on the notes of the corresponding Phrygian mode.
The diminished seventh chord is a four-note chord composed of a root note, together with a minor third, a diminished fifth, and a diminished seventh above the root:. For example, the diminished seventh chord built on B, commonly written as Bo7, has pitches B-D-F-A♭:
In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs are based on chord progressions. "A chord substitution occurs when a chord is replaced by another that is made to function like the original. Usually substituted chords possess two pitches in common with the triad that they are replacing."
In music theory, a comma is a very small interval, the difference resulting from tuning one note two different ways. Strictly speaking, there are only two kinds of comma, the syntonic comma, "the difference between a just major 3rd and four just perfect 5ths less two octaves", and the Pythagorean comma, "the difference between twelve 5ths and seven octaves". The word comma used without qualification refers to the syntonic comma, which can be defined, for instance, as the difference between an F♯ tuned using the D-based Pythagorean tuning system, and another F♯ tuned using the D-based quarter-comma meantone tuning system. Intervals separated by the ratio 81:80 are considered the same note because the 12-note Western chromatic scale does not distinguish Pythagorean intervals from 5-limit intervals in its notation. Other intervals are considered commas because of the enharmonic equivalences of a tuning system. For example, in 53TET, B♭ and A♯ are both approximated by the same interval although they are a septimal kleisma apart.
In classical music from Western culture, an augmented second is an interval that, in 12-tone equal temperament, is sonically equivalent to a minor third, spanning three semitones, and is created by widening a major second by a chromatic semitone. For instance, the interval from C to D is a major second, two semitones wide, and the interval from C to D♯ is an augmented second, spanning three semitones.
Quarter-comma meantone, or 1 / 4 -comma meantone, was the most common meantone temperament in the sixteenth and seventeenth centuries, and was sometimes used later. In this system the perfect fifth is flattened by one quarter of a syntonic comma ( 81 : 80 ), with respect to its just intonation used in Pythagorean tuning ; the result is 3 / 2 × [ 80 / 81 ] 1 / 4 = 4√5 ≈ 1.49535, or a fifth of 696.578 cents. This fifth is then iterated to generate the diatonic scale and other notes of the temperament. The purpose is to obtain justly intoned major thirds. It was described by Pietro Aron in his Toscanello de la Musica of 1523, by saying the major thirds should be tuned to be "sonorous and just, as united as possible." Later theorists Gioseffo Zarlino and Francisco de Salinas described the tuning with mathematical exactitude.
In music, 53 equal temperament, called 53 TET, 53 EDO, or 53 ET, is the tempered scale derived by dividing the octave into 53 equal steps. Each step represents a frequency ratio of 21⁄53, or 22.6415 cents, an interval sometimes called the Holdrian comma.
In music, septimal meantone temperament, also called standard septimal meantone or simply septimal meantone, refers to the tempering of 7-limit musical intervals by a meantone temperament tuning in the range from fifths flattened by the amount of fifths for 12 equal temperament to those as flat as 19 equal temperament, with 31 equal temperament being a more or less optimal tuning for both the 5- and 7-limits.
In music, 22 equal temperament, called 22-TET, 22-EDO, or 22-ET, is the tempered scale derived by dividing the octave into 22 equal steps. Each step represents a frequency ratio of 22√2, or 54.55 cents.
In music theory, the half-diminished seventh chord is a seventh chord composed of a root note, together with a minor third, a diminished fifth, and a minor seventh. For example, the half-diminished seventh chord built on B, commonly written as Bm7(♭5), or Bø7, has pitches B-D-F-A:
In classical music from Western culture, a diminished third is the musical interval produced by narrowing a minor third by a chromatic semitone. For instance, the interval from A to C is a minor third, three semitones wide, and both the intervals from A♯ to C, and from A to C♭ are diminished thirds, two semitones wide. Being diminished, it is considered a dissonant interval.
In music, harmonization is the chordal accompaniment to a line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads".
In music, 15 equal temperament, called 15-TET, 15-EDO, or 15-ET, is a tempered scale derived by dividing the octave into 15 equal steps. Each step represents a frequency ratio of 15√2, or 80 cents. Because 15 factors into 3 times 5, it can be seen as being made up of three scales of 5 equal divisions of the octave, each of which resembles the Slendro scale in Indonesian gamelan. 15 equal temperament is not a meantone system.
Musicians use various kinds of chord names and symbols in different contexts to represent musical chords. In most genres of popular music, including jazz, pop, and rock, a chord name and its corresponding symbol typically indicate one or more of the following:
the root note,
the chord quality,
whether the chord is a triad, seventh chord, or an extended chord,
any altered notes,
any added tones, and
the bass note if it is not the root.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
