This rarity makes the augmented triad a special chord that touches on the atonal. Its uses to 'suspend' tonality are famous; for example, in Franz Liszt's "Faust Symphony", in Richard Wagner's "Siegfried Idyll", and in Arnold Schoenberg's "Walzer" ("Fünf Klavierstücke" Op. 23 No. 5). However, the augmented triad occurs in tonal music, with a perfectly tonal meaning, since at least J.S. Bach (see the first chord in the opening chorus to his cantata "Ach Gott, vom Himmel sieh darein, BWV 2") and Joseph Haydn (see, for example, the Trio from Haydn's String Quartet Op. 54 No. 2). It results diatonically in minor mode from a dominant chord where the fifth (the second degree) is replaced by the third degree, as an anticipation of the resolution chord. Ludwig van Beethoven's Symphony No. 9 features such a chord at key moments in the slow movement. Johannes Brahms's "Tragic Overture" also features the chord prominently (A–C–E), in alternation with the regular dominant (A–C–E). In this example one can also see other aspect of the appeal of the chord to composers: it is a 'conflation' of the fifth degree and the third degree, the usual contrasting keys of a piece in the minor mode.