III+ and V: \hat5 and \hat7 in common, semitone between \hat2 and \hat3.This III+ triad is closely related to both the dominant (V) and minor tonic (i): in both cases, two scale degrees are held common and o nly one semitone distinguishes the chord tone which changes: Part of that rarity has to do with the structure of the major/minor system itself: III+ in harmonic minor is the only time the augmented triad appears in the major/minor system without chromatic alteration. The augmented triad is a slightly peripheral character in relation to those protagonists. Clearly major and minor triads are mission critical to tonal music, and so is the diminished triad, especially in its dominant function role (as vii o and as a part of V 7). So the augmented triad is part of this set of possibilities, but apparently not an equal member, at least not in the eyes of common practice composers. Augmented triad (major third + major third).Major triad (major third + minor third).Minor triad (minor third + major third).Diminished triad (minor third + minor third).Recall that we have four types of triads that can be constructed with major and minor thirds alone:
So what is this augmented triad all about? How do composers use it? How have we neglected it so long (and why do so many textbooks brush over it altogether)? as a chromatic passing chord between V and I in a major key: V, V+, I.Īren’t we forgetting something here? We’re now well into chromatic harmony, yet we’ve hardly mentioned one of the four types of ostensibly diatonic triads: we’re up to speed with augmented sixth chords, but not the augmented triad.as III+ in harmonic minor (this being the only form in the major/minor system without chromatic alteration), and.the symmetrical construction, which creates potential flexibility and ambiguity (just like with the diminished seventh chord).interesting for several reasons including.much rarer than the other three triad types (major, minor, and diminished).
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