I still think your missing the point though. Read this before you reply to the old message, maybe it will help make better sense of what I am saying. It's not about the key so much as it is about the voicing.

Yeah it could also be what you said and be correct, but what if in A minor instead of C major. Having a C augmented chord in C major is very weird, this happens in A harmonic minor though. Cadences signify the end of a phrase or piece and if it's in A minor, the cadence would be different. Looking at the Cmaj7#5/E to Fmaj7/A chord progression. We're in A minor and the cadence would be E-A for A minor. The tones within the inversion are the voicing of that cadence.

Take E which would be a major, or dominant. Now look at the chords in Cmaj7#5 and you have C, E, G#, and B. E, G#, and B make up a E major chord. Now you have your major triad for the fifth. C is the addition voicing, and later D can be added to make the E chord a dominant.

Next is the A, which should be minor. Now look at the notes within the Fmaj7 chord associated with A. You end up with F, A, C, and E. A, C, and E make up an A minor chord. Now you have a minor chord for a tonic. F is the additional voicing. Maybe not the favorite, because like you said it does make the A sound major sounding. A nice lift if the piece is in A minor, kinda deceptive.

So what you end up with in the end is Emaj to Amin. The harmonic minor cadence, which was disguised within those chords. Even the added notes sound like a cadence, those being C to F. If you were orchrestrating, this movement could be played on one instrument while others played the other voicings. This is really about voicing chords differently while keeping alittle tension (b6-5 in both chords).

Bring it on Christoph. :D

[Edited by noticingthemistake on 10-25-2003 at 10:28 AM]