Construction
| Note | Interval | Degree |
|---|---|---|
| D♭ | Root | 1 |
| F | Major 3rd | 3 |
| A | Minor 6th | ♯5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| D♭ | black | thumb (1) | little finger (5) |
| F | white | middle finger (3) | middle finger (3) |
| A | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on D♭, middle finger (3) on F, little finger (5) on A.
Left hand: little finger (5) on D♭, middle finger (3) on F, thumb (1) on A.
D♭ Augmented Inversions
- Root positionD♭ – F – A
- 1st inversion (D♭aug/F)F – A – D♭
- 2nd inversion (D♭aug/A)A – D♭ – F
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 D♭ Major
These are the triads built on each degree of D♭ Major:
Same Notes, Other Names
The notes D♭ – F – A 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:
D♭ Augmented : Frequently Asked Questions
What notes are in D♭aug?
How do you play D♭aug on piano?
What are the inversions of D♭aug?
What is the difference between D♭aug and D♭aug7?
What is an easy D♭aug for small hands?
What are the frequencies of D♭aug?
What is the set class of D♭aug?
How do I transpose D♭aug to another key?
Is C♯aug the same as D♭aug?
D♭ 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 | D♭3 F3 A3 | 8 | 110 mm | none | identical | |
| Close, first inversion | F3 A3 D♭4 | 8 | 110 mm | none | identical | |
| Close, second inversion | A3 D♭4 F4 | 8 | 110 mm | none | identical | |
| Open, fifth on top | D♭2 A2 F3 | 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 | D♭3 F3 | 4 | 55 mm | omits A | 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 | D♭ | D♭3, F3, A3 | 5/3 | 8 | 110 mm |
| First inversion: D♭aug/F | F | F3, A3, D♭4 | 6/3 | 8 | 110 mm |
| Second inversion: D♭aug/A | A | A3, D♭4, F4 | 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 |
|---|---|---|---|
| D♭aug7 | adds C♭ | 1 3 ♯5 ♭7 | 3 |
| D♭ | A becomes A♭ | 1 3 5 | 2 |
| D♭maj7 | A becomes A♭, C | 1 3 5 7 | 2 |
| D♭7 | A becomes A♭, C♭ | 1 3 5 ♭7 | 2 |
| D♭6 | A becomes A♭, B♭ | 1 3 5 6 | 2 |
| D♭add9 | A becomes A♭, E♭ | 1 3 5 9 | 2 |
| D♭m | F, A becomes F♭, A♭ | 1 ♭3 5 | 1 |
| D♭dim | F, A becomes F♭, A♭♭ | 1 ♭3 ♭5 | 1 |
| D♭sus2 | F, A becomes E♭, A♭ | 1 2 5 | 1 |
| D♭sus4 | F, A becomes G♭, A♭ | 1 4 5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| D♭3 | 49 | 138.59 Hz |
| F3 | 53 | 174.61 Hz |
| A3 | 57 | 220.00 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {1, 5, 9}
- Normal order
- [1, 5, 9]
- Prime form
- (048)
- Forte number
- 3-12
- Interval vector
- <000300>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| D♭ to F | Major third | 4 | 4 |
| D♭ to A | Minor sixth | 8 | 4 |
| F to A | 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 D♭, 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.