We will now see the process of "augmenting" a chord
- this usually produces an "augmented triad" sound but it may also keep its tetrad shape.

Here is how augmentation works
- the substitution of Orbit 3 by Orbit 1, Incompleteness 1(3)
     can be chromaticized toward its resolution to Orbit 2.

We have first the basic DOMINANT-TONIC progression,
          with the TONIC as Real Triad.
     The Orbit progression 1-1 is, by itself, in Line 1.
     The 3 other Orbit progressions (3-2, 2-1, 0-0) are together, in Line 2.
     The Fundamental Bass is in Line 3.
- We then have incompleteness 1(3) in the top voice of line 2 (D replacing F).
- Finally this substitution has been chromaticized to D#.
     The clash with the D of line 1 has generally been considered too violent
     and Line 1 is usually left out.

Augmented Triads

We have here the last half of the circle,
     starting with the ANTE-3, Voice-leading A.
The 1-1 Orbit line has been left out
     and each chord has been dominantized.

Incompleteness and Augmentation
Then, incompleteness 01(3) has been applied to each chord
     and each triad has been augmented
          by chromaticizing the substitution of Orbit 3.
This gives us a series of 4 augmented triads.

12 Augmented triads
On the "turn-around" progression (C6-Am7-Dm7-G7), presented 3 times,

If each chord is presented as a Real Triad (C-Am-Dm-G),
     C-Am being an open Metamorphosis 4 and not a progression,
          (notice that they are in the same bar) and
- if each triad is dominantized and augmented (C+5-A+5-D+5-G+5),
     we have a series of 12 augmented triads covering a complete octave.

Augmented Tetrads

We saw in the first example that it is not impossible to maintain Orbit line 1-1 (D-C)
     while chromaticizing the substitution 1(3) in an augmentation (D#-E).

We have here -
in the Soprano voice, the Orbit 1-1 line,
in the Alto voice, the Orbit 3-2 line with chromaticized substitution 1(3),
in the Tenor voice, the Orbit 0-0 line, and
in the Bass voice, the Orbit 2-1 line.
     (The Fundamental Bass has been left out.)
This disposition is particularly pleasant
     and the discordance of the DOMINANT Chord is rendered acceptable
     by the perfect Voice-leading to the TONIC Chord.

You might like to see
further "development" of this example.