Again, the chord is more coherent if you listen to a whole sequence of aug. 6th chords, leading onto a cadence. Often, they resolve onto the dominant chord (V) or onto the tonic chord, second inversion (see above). Nevertheless, in this following example, they are used purely as non-functional chords; there only to enhance and enrich the harmonies and to create a progressive bass line.
The above sequence is also very chromatic. We hear some diminished chords and one dominant 7th in its second inversion here too. Try and analyse some of the chords.
Listen to this work – the Lacrimosa from the Requiem Mass by Mozart.
To help you along, here are some points:
The key of the work is D minor but has tonicised to F minor for a few bars.
The notes of the augmented 6th interval are D♭ to B natural. The rest of the notes together with those two create a German 6th.