F Augmented 7th
Introduction
Notes
F Augmented 7th Inversions
| Position | Notes |
|---|---|
| Root Position | F4 – A4 – Db5 – Eb5 |
| 1st Inversion | A4 – Db5 – Eb5 – F5 |
| 2nd Inversion | Db5 – Eb5 – F5 – A5 |
| 3rd Inversion | F4 – A4 – Db5 – Eb4 |
Key Signature
The key of F Augmented 7th has 1 flat: B♭.
Theory: Intervals
The F Augmented 7th is built by stacking intervals from the root note. The formula R-M3-A5-m7 describes the scale degrees used. The intervals P1-M3-A5-m7 show the distance between each note in the chord.
F Augmented 7th — Frequently Asked Questions
What notes are in the F Augmented 7th chord?
The F Augmented 7th chord (F+7) contains four notes: F (root), A (major third), C# (augmented fifth), and Eb (minor seventh). It combines an augmented triad with a minor seventh.
How does F Augmented 7th differ from F Dominant 7th?
Both contain F, A, and Eb. F+7 has C# (augmented fifth) while F7 has C (perfect fifth). The raised fifth adds extra tension and upward chromatic pull.
How is F Augmented 7th used in music?
F+7 is an altered dominant resolving to Bb Major. The C# pulls up to D while Eb pulls down to D — converging on the third of Bb. Common in jazz, gospel, and R&B.
What genres use Augmented 7th chords?
Augmented 7th chords are common in jazz, gospel, blues, and R&B for adding colour to dominant resolutions.
What songs use Augmented 7th chords?
Augmented 7th chords appear in jazz standards and gospel. F+7 resolves to Bb Major, a common key for jazz and brass music.
What is the difference between +7 and 7#5?
They are the same chord. F+7, F7#5, and Faug7 all refer to F Augmented 7th.
Practice Tips
- Play F7 then raise C to C# — hear the augmented fifth's extra chromatic tension.
- Practice F+7 → Bb Major. C# and Eb both resolve to D — converging voice leading.
- Compare F+7 with F7 — both target Bb, but +7 is richer and more dramatic.
- In jazz: Cm7 → F+7 → Bbmaj7 adds colour to the ii–V–I in Bb.
- F+7 is a gospel favourite — try it before the IV chord for emotional weight.
- The augmented triad (F–A–C#) divides the octave symmetrically into three major thirds.