# Can Aug7 chords be used in place of any dominant chord?

I am trying to analyze a chord progression that has an augmented 7 chord but since it doesn't resolve, I am trying to figure out what to make of it. Here is a part of the song that uses it.

My take is that the diminished chord walks up to what might usually be a F#7 (E lydian mode) chord but the composer probably just used an Aug7 chord in its place. Is this how augmented 7th chords are normally used? The G# dim is also an inversion of E7b9 without the bass so it is just like the E goes from an E > E7 > F#7. Is that the simplified version of it?

• 7th aug. isn't the same as an aug.7th. Be very careful how the chords are named.
– Tim
Commented Aug 4, 2020 at 18:19
• aug = +5 referring to the aug. 5th ( C double sharp). I don‘t try to explain all progressions as functional harmony, but I‘ll try to give an answer. Commented Aug 4, 2020 at 20:11
• Revisiting an old question ... is there anything more required for a satisfying answer? Commented Sep 18, 2022 at 4:03
• @Aaron - Yes, the measure after the Aug. 7th chord - I'd like to make sure that the Aug. 7th chord in fact "doesn't resolve". Commented Sep 18, 2022 at 7:45
• @Dekkadeci Heh! It didn't dawn on me that someone other than OP would reply to my comment. Fair point. Commented Sep 18, 2022 at 14:28

We can‘t always press a progression in acommon schema, but this song reminds me on something well known:

E C#7 F#7 B7 (whereby The dominant B7 is omitted in the 2 second bar = 2 beats rest!)

The secondary dominant7b9 of F# can be replaced by the secondary VIIdim7 of F#.

So C#7 (C#-E#-G#-B) is substituted by G#dim, which actually is the 1st inversion of E#dim7 (VIIdim7 to F#): E#- G#-B-D (F => enharmonic E#)

Now the F#aug7: augmented is referring to the 5th, the Cx = C## (double sharpened!)

F#aug7 = F#7+5 = F#7 with augmented 5th = F#7 (#5=Cx)

This secondary dominant chord doesn‘t resolve - as the B7 in the second half of bar 2 is omitted.

P.S.

The first jazz progression I’ve ever learnt was I-vi-ii-V. There‘s also a usual progression I VI7 II7 V, where II is V/V and VI is V/II.

(In C this would be C am dm G7 respectively C A7 D7 G7)

in E major: E c#m f#m B7 and E C#7 F#7 B7.

The first pattern is the iso called 1 6 2 5 progression (I vi ii V). The other with major chords can be interpreted as 5th fall sequence of secondary dominants I (V7/V7/V7 I) or the major chords VI - II could be considered as the parallel chords of the minor variants vi - ii. V7/ii can be substituted by VIIdim7/ii, as VIIdim7 is also V7b9 without root tone.

So the song goes:

E - E#7/G# - F#7+5 - (B7) in parenthesis as omitted

I - VIIdim7 - V7/V ....

• thanks, I just read the other reply and I didn't see there was a G natural note in the "F#7+5" so does it make more sense to call the chord a F#7b9b13?
– user35708
Commented Aug 5, 2020 at 17:30

### TL;DR

The complete functional chord progression of the verse is:

`(3x) I viio65/V/V V+7/V :|| V9sus4 I`.

For the published chord progression see Google Search: coldplay everything's not lost sheet music.

### Can aug7 chords be used in place of any dominant chord?

No. Depending on the context, the augmented 5 is going to be inappropriately dissonant to the music. Consider “Twinkle, Twinkle, Little Star”: an aug7 is going to sound very strange in that context, particularly when the the aug5 in the harmony coincides with non-aug5 in the melody.

### “… but since it doesn’t resolve …”: or does it? (Hint: it does, eventually)

In the published versions of the song the chord progression occurs three times, but on the third time, it proceeds to `F#m7/B` and then `E`.

`F#m7/B` can be reconsidered as `B9sus4`. In that context, we see that `F#m7/B` is serving as the `V` chord, which then proceeds to `E`.

### “I am trying to decide what to make of it”: The analysis goes like this…

Noting that `F#m7/B = B9sus4` (above) reveals that `F#aug7` is actually `V/V` (i.e., `Vaug7/V`), which, while initially unresolved, eventually moves to `V` and `I` — a very typical progression (`V/V V I`), but with alterations (`Vaug7/V V7sus4 I`).

### Typical uses of aug7 chords

The "rule" in Tonal theory is that augmented intervals resolve upward. So, in general, augmented chords serve as transitional chords between, say, `I` and `IV` or `I` and `iv` in first inversion.

``````X:0
K:C major
L:1/2
[CEG] [CE^G] | [CFA]2 || [CEG] [CE^G] | [CEA]2 |
``````

This is true even when the seventh is present. So, for example:

``````X:0
K:C major
L:1/2
[CEG_B] [CE^G_B] | [CFA]2 || [CEG_B] [CE^G_B] | [CEA]2 |
``````

### Is this a simplified version of E, E7, F#7?

Close, but not quite. It’s related, but I would suggest it’s “complexified” and a slightly different, but related, functional progression.

`G#dim` is enharmonically equivalent to `E#dim`, and `E#` is the leading-tone for `F#`. `G#dim` is really `E#dim`, which is `viio/F#`.

In other words, the complete progression is

`I viio65/V/V V+7/V V9sus4 I`.

• Ok, that makes sense. Also, the G note is not in an F#7aug chord so then isn't it incorrect to call it a F#7aug5
– user35708
Commented Aug 5, 2020 at 17:31
• F#7aug and F#7aug5 mean the same thing, and you're correct that the G is not included. More correctly, the chord would be indicated as F#7aug(b9) or F#7#5b9. IMO, the "correct" rendering of the chord in this song is F#b9b13. Commented Aug 5, 2020 at 18:25