Such scholars as Larry Todd and Richard Cohn have alluded to the developing role that the augmented triad plays in surface progressions of Liszt's compositional practice. This paper will attempt to demonstrate that as early as his three Concertos symphoniques of 1839 (the First E-flat Concerto, the Second A major Concerto, and the posthumous E-flat concerto), Liszt was already utilizing this sonority in an astonishing variety of imaginative ways and at different hierarchical levels. Three aspects of these works' tonal language will be isolated and discussed: 1. The role played by the major-third relations, both at the harmonic surface and larger tonal contexts, 2. The function of the augmented triad, either in isolated form or as projections of successive major thirds in both local sequences and higher structural levels, and 3. Sequential patterns involving symmetrical sonorities or relations which result in the complete chromatic or aggregate.