Augmented Passing Chords

I don't use enough augmented chords when composing. I don't know enough about them. Here are the results of an investigation.

Augmented chords sometimes work as passing chords between diatonic triads.

Here, in brackets, are some transitions between diatonic chords, followed by diminished chords that work well there. The augmented chord will usually have the same tonic as the first chord, sometimes the tonic of the second chord.

:: Augmented passing chords.

Tonic with Tonic.

* [I.maj → VI.m]: I.aug # 1-6

* [VI.m → I.Maj]: I.aug # 6-1

* [III.m → VI.m] : III.aug # 3-6

Predominant with Predominant.

* [IV.maj → II.m]: IV.aug # 4-2

* [II.m → IV.maj]: IV.aug # 2-4

~ [I.maj → II.m]: I.aug # 1-2

Tonic with Predominant.

* [I.maj → II.m]: I.aug # 1-2

* [I.maj → IV.maj]: I.aug # 1-4

* [III.m → IV.maj]: III.aug # 3-4

* [VI.m → II.m]: VI.aug # 6-2

Dominant with Tonic.

* [V.maj → III.m]: V.aug # 5-3

* [III.m → V.maj]: V.aug # 3-5

* [V.maj → I.maj]: V.aug # 5-1

~ [VII.dim → VI.m]: VII.aug # 7-6

~ [VII.dim → I.maj]: VII.aug # 7-1

Predominant with Dominant.

~ [II.m → V.maj]: II.aug # 2-5

The best sounding ones are marked with asterisks. The last three presented progressions sound less polished and are instead marked with tildes.

If you want to make more interesting chord progressions, try putting some augmented chords into these places. See how you like it.