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 is the A♭ Augmented chord on piano?
What notes are in the Ab Augmented chord?
How does the Ab Augmented chord differ from Ab Major?
What is the symbol for the Ab Augmented chord?
How do I use the Ab Augmented chord in music?
What are the inversions of the Ab Augmented chord?
What songs use augmented chords?
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.