Construction
| Note | Interval | Degree |
|---|---|---|
| A♭ | Root | 1 |
| C | Major 3rd | 3 |
| E | Minor 6th | ♯5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| A♭ | black | thumb (1) | little finger (5) |
| C | white | middle finger (3) | middle finger (3) |
| E | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on A♭, middle finger (3) on C, little finger (5) on E.
Left hand: little finger (5) on A♭, middle finger (3) on C, thumb (1) on E.
A♭ Augmented Inversions
- Root positionA♭ – C – E
- 1st inversion (A♭aug/C)C – E – A♭
- 2nd inversion (A♭aug/E)E – A♭ – C
Key Signature
A Augmented chord is built from symmetrical or ambiguous intervals, so it doesn't belong to a single key and has no key signature of its own.
Chords in the Key of A♭ Major
These are the triads built on each degree of A♭ Major:
Same Notes, Other Names
The notes A♭ – C – E aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell the following:
A♭ Augmented : Frequently Asked Questions
What notes are in A♭aug?
How do you play A♭aug on piano?
What are the inversions of A♭aug?
What is the difference between A♭aug and A♭aug7?
What is an easy A♭aug for small hands?
What are the frequencies of A♭aug?
What is the set class of A♭aug?
How do I transpose A♭aug to another key?
Is G♯aug the same as A♭aug?
A♭ Augmented in detail
Exact
Every pitch class is present and nothing outside the chord is added.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Close, root position | A♭3 C4 E4 | 8 | 110 mm | none | identical | |
| Close, first inversion | C4 E4 A♭4 | 8 | 110 mm | none | identical | |
| Close, second inversion | E4 A♭4 C5 | 8 | 110 mm | none | identical | |
| Open, fifth on top | A♭2 E3 C4 | 16 | 220 mm | none | identical |
Reduced
A subset of the pitch classes: the identity is incomplete rather than altered.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Root and third only | A♭3 C4 | 4 | 55 mm | omits E | subset |
Spans are measured centre to centre at a 165 mm octave (standard keyboard geometry).
| Position | Bass note | Notes in order | Figured bass | Semitones | Span |
|---|---|---|---|---|---|
| Root position | A♭ | A♭3, C4, E4 | 5/3 | 8 | 110 mm |
| First inversion: A♭aug/C | C | C4, E4, A♭4 | 6/3 | 8 | 110 mm |
| Second inversion: A♭aug/E | E | E4, A♭4, C5 | 6/4 | 8 | 110 mm |
One position per chord tone in the bass. Spans are for close position: voiced inversions appear under Voicings.
| Progression | Key | Role | Sequence | Voice leading |
|---|
Root motion, common tones and voice displacement are computed from pitch class sets. Roman numerals follow common practice functional harmony.
Change one note
Chords a single note away, and what moving that note does.
| Chord | Change | Formula | Common tones |
|---|---|---|---|
| A♭aug7 | adds G♭ | 1 3 ♯5 ♭7 | 3 |
| A♭ | E becomes E♭ | 1 3 5 | 2 |
| A♭maj7 | E becomes E♭, G | 1 3 5 7 | 2 |
| A♭7 | E becomes E♭, G♭ | 1 3 5 ♭7 | 2 |
| A♭6 | E becomes E♭, F | 1 3 5 6 | 2 |
| A♭add9 | E becomes E♭, B♭ | 1 3 5 9 | 2 |
| A♭m | C, E becomes C♭, E♭ | 1 ♭3 5 | 1 |
| A♭dim | C, E becomes C♭, E♭♭ | 1 ♭3 ♭5 | 1 |
| A♭sus2 | C, E becomes B♭, E♭ | 1 2 5 | 1 |
| A♭sus4 | C, E becomes D♭, E♭ | 1 4 5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| A♭3 | 56 | 207.65 Hz |
| C4 | 60 | 261.63 Hz |
| E4 | 64 | 329.63 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {8, 0, 4}
- Normal order
- [0, 4, 8]
- Prime form
- (048)
- Forte number
- 3-12
- Interval vector
- <000300>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| A♭ to C | Major third | 4 | 4 |
| A♭ to E | Minor sixth | 8 | 4 |
| C to E | Major third | 4 | 4 |
Where these facts come from
Every value on this page is derived from the note formula for a augmented applied to the root A♭, using standard music theory. Nothing here is hand-entered per chord, so the notes, intervals, inversions and frequencies cannot drift out of agreement with each other. Pitches assume 12-TET at A440.