Construction
| Note | Interval | Degree |
|---|---|---|
| C♭ | Root | 1 |
| E♭ | Major 3rd | 3 |
| G | Minor 6th | ♯5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| C♭ | white | thumb (1) | little finger (5) |
| E♭ | black | middle finger (3) | middle finger (3) |
| G | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on C♭, middle finger (3) on E♭, little finger (5) on G.
Left hand: little finger (5) on C♭, middle finger (3) on E♭, thumb (1) on G.
C♭ Augmented Inversions
- Root positionC♭ – E♭ – G
- 1st inversion (C♭aug/E♭)E♭ – G – C♭
- 2nd inversion (C♭aug/G)G – C♭ – E♭
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 C♭ Major
These are the triads built on each degree of C♭ Major:
Same Notes, Other Names
The notes C♭ – E♭ – G 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:
C♭ Augmented : Frequently Asked Questions
What notes are in C♭aug?
How do you play C♭aug on piano?
What are the inversions of C♭aug?
What is the difference between C♭aug and C♭aug7?
What is an easy C♭aug for small hands?
What are the frequencies of C♭aug?
What is the set class of C♭aug?
How do I transpose C♭aug to another key?
Is Baug the same as C♭aug?
C♭ 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 | C♭3 E♭4 G4 | 8 | 110 mm | none | identical | |
| Close, first inversion | E♭4 G4 C♭4 | 8 | 110 mm | none | identical | |
| Close, second inversion | G4 C♭4 E♭5 | 8 | 110 mm | none | identical | |
| Open, fifth on top | C♭2 G3 E♭4 | 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 | C♭3 E♭4 | 4 | 55 mm | omits G | 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 | C♭ | C♭3, E♭4, G4 | 5/3 | 8 | 110 mm |
| First inversion: C♭aug/E♭ | E♭ | E♭4, G4, C♭4 | 6/3 | 8 | 110 mm |
| Second inversion: C♭aug/G | G | G4, C♭4, E♭5 | 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 |
|---|---|---|---|
| C♭aug7 | adds B♭♭ | 1 3 ♯5 ♭7 | 3 |
| C♭ | G becomes G♭ | 1 3 5 | 2 |
| C♭maj7 | G becomes G♭, B♭ | 1 3 5 7 | 2 |
| C♭7 | G becomes G♭, B♭♭ | 1 3 5 ♭7 | 2 |
| C♭6 | G becomes G♭, A♭ | 1 3 5 6 | 2 |
| C♭add9 | G becomes G♭, D♭ | 1 3 5 9 | 2 |
| C♭m | E♭, G becomes E♭♭, G♭ | 1 ♭3 5 | 1 |
| C♭dim | E♭, G becomes E♭♭, G♭♭ | 1 ♭3 ♭5 | 1 |
| C♭sus2 | E♭, G becomes D♭, G♭ | 1 2 5 | 1 |
| C♭sus4 | E♭, G becomes F♭, G♭ | 1 4 5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| C♭3 | 59 | 246.94 Hz |
| E♭4 | 63 | 311.13 Hz |
| G4 | 67 | 392.00 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {11, 3, 7}
- Normal order
- [3, 7, 11]
- Prime form
- (048)
- Forte number
- 3-12
- Interval vector
- <000300>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| C♭ to E♭ | Major third | 4 | 4 |
| C♭ to G | Minor sixth | 8 | 4 |
| E♭ to G | 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 C♭, 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.