But, do augmented triads even get used at all in the Baroque? Earliest composer I have seen use an augmented triad is Beethoven and it doesn't become common until the Romantic Era with composers like Chopin and Liszt. But which triad? It could be G+, that certainly fits with how the chord sounds, calling it an augmented triad on the dominant. If it is correct though, what chord is it? G, B, C, Eb, that spells a minor-major seventh chord on C, but that kind of seventh chord isn't used in Classical Music, so it's probably a triad with an added non-chord tone. And also, I was just curious about how I should go about analyzing a chord like this one. So I treated it as though it was correct. That doesn't necessarily mean that one or the other is wrong though, as I have seen happen with 2 editions of Mozart's K545 in the past, where the Andante in one edition had a false recapitulation before repeating the G minor and the majority of the others went straight to the G major with no false recapitulation whatsoever. I even have 2 piano books that both have this Prelude and they differ by exactly 1 bar because one of them has this chord in it and the other one doesn't, it just has the 2 diminished sevenths right next to each other. Now, most editions I see of this Prelude don't have this chord in it. So I'm analyzing the harmony in Bach's C major Prelude from the Well Tempered Clavier, and it all goes smoothly until I reach this chord:
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