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.
-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.
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.