Construction
| Note | Interval | Degree |
|---|---|---|
| E | Root | 1 |
| G♯ | Major 3rd | 3 |
| B♯ | Minor 6th | ♯5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| E | white | thumb (1) | little finger (5) |
| G♯ | black | middle finger (3) | middle finger (3) |
| B♯ | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on E, middle finger (3) on G♯, little finger (5) on B♯.
Left hand: little finger (5) on E, middle finger (3) on G♯, thumb (1) on B♯.
E Augmented Inversions
- Root positionE – G♯ – B♯
- 1st inversion (Eaug/G♯)G♯ – B♯ – E
- 2nd inversion (Eaug/B♯)B♯ – E – G♯
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 E Major
These are the triads built on each degree of E Major:
Same Notes, Other Names
The notes E – G♯ – B♯ 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:
E Augmented : Frequently Asked Questions
What is the E Augmented chord on piano?
What notes are in the E Augmented chord?
How does the E Augmented chord differ from E Major?
What is the symbol for the E Augmented chord?
How do I use the E Augmented chord in music?
What are the inversions of the E Augmented chord?
What songs use augmented chords?
E 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 | E3 G♯3 B♯4 | 8 | 110 mm | none | identical | |
| Close, first inversion | G♯3 B♯4 E4 | 8 | 110 mm | none | identical | |
| Close, second inversion | B♯4 E4 G♯4 | 8 | 110 mm | none | identical | |
| Open, fifth on top | E2 B♯3 G♯3 | 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 | E3 G♯3 | 4 | 55 mm | omits B♯ | 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 | E | E3, G♯3, B♯4 | 5/3 | 8 | 110 mm |
| First inversion: Eaug/G♯ | G♯ | G♯3, B♯4, E4 | 6/3 | 8 | 110 mm |
| Second inversion: Eaug/B♯ | B♯ | B♯4, E4, G♯4 | 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 |
|---|---|---|---|
| Eaug7 | adds D | 1 3 ♯5 ♭7 | 3 |
| E | B♯ becomes B | 1 3 5 | 2 |
| Emaj7 | B♯ becomes B, D♯ | 1 3 5 7 | 2 |
| E7 | B♯ becomes B, D | 1 3 5 ♭7 | 2 |
| E6 | B♯ becomes B, C♯ | 1 3 5 6 | 2 |
| Eadd9 | B♯ becomes B, F♯ | 1 3 5 9 | 2 |
| Em | G♯, B♯ becomes G, B | 1 ♭3 5 | 1 |
| Edim | G♯, B♯ becomes G, B♭ | 1 ♭3 ♭5 | 1 |
| Esus2 | G♯, B♯ becomes F♯, B | 1 2 5 | 1 |
| Esus4 | G♯, B♯ becomes A, B | 1 4 5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| E3 | 52 | 164.81 Hz |
| G♯3 | 56 | 207.65 Hz |
| B♯4 | 60 | 261.63 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {4, 8, 0}
- Normal order
- [0, 4, 8]
- Prime form
- (048)
- Forte number
- 3-12
- Interval vector
- <000300>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| E to G♯ | Major third | 4 | 4 |
| E to B♯ | Minor sixth | 8 | 4 |
| G♯ to B♯ | 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 E, 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.