Construction
| Note | Interval | Degree |
|---|---|---|
| F♯ | Root | 1 |
| A♯ | Major 3rd | 3 |
| C♯♯ | Minor 6th | ♯5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| F♯ | black | thumb (1) | little finger (5) |
| A♯ | black | middle finger (3) | middle finger (3) |
| C♯♯ | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on F♯, middle finger (3) on A♯, little finger (5) on C♯♯.
Left hand: little finger (5) on F♯, middle finger (3) on A♯, thumb (1) on C♯♯.
F♯ Augmented Inversions
- Root positionF♯ – A♯ – C♯♯
- 1st inversion (F♯aug/A♯)A♯ – C♯♯ – F♯
- 2nd inversion (F♯aug/C♯♯)C♯♯ – F♯ – A♯
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 F♯ Major
These are the triads built on each degree of F♯ Major:
Same Notes, Other Names
The notes F♯ – A♯ – C♯♯ 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:
F♯ Augmented : Frequently Asked Questions
What notes are in F♯aug?
How do you play F♯aug on piano?
What are the inversions of F♯aug?
What is the difference between F♯aug and F♯aug7?
What is an easy F♯aug for small hands?
What are the frequencies of F♯aug?
What is the set class of F♯aug?
How do I transpose F♯aug to another key?
Is G♭aug the same as F♯aug?
F♯ 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 | F♯3 A♯3 C×4 | 8 | 110 mm | none | identical | |
| Close, first inversion | A♯3 C×4 F♯4 | 8 | 110 mm | none | identical | |
| Close, second inversion | C×4 F♯4 A♯4 | 8 | 110 mm | none | identical | |
| Open, fifth on top | F♯2 C×3 A♯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 | F♯3 A♯3 | 4 | 55 mm | omits C× | 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 | F♯ | F♯3, A♯3, C×4 | 5/3 | 8 | 110 mm |
| First inversion: F♯aug/A♯ | A♯ | A♯3, C×4, F♯4 | 6/3 | 8 | 110 mm |
| Second inversion: F♯aug/C× | C× | C×4, F♯4, A♯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 |
|---|---|---|---|
| F♯aug7 | adds E | 1 3 ♯5 ♭7 | 3 |
| F♯ | C× becomes C♯ | 1 3 5 | 2 |
| F♯maj7 | C× becomes C♯, E♯ | 1 3 5 7 | 2 |
| F♯7 | C× becomes C♯, E | 1 3 5 ♭7 | 2 |
| F♯6 | C× becomes C♯, D♯ | 1 3 5 6 | 2 |
| F♯add9 | C× becomes C♯, G♯ | 1 3 5 9 | 2 |
| F♯m | A♯, C× becomes A, C♯ | 1 ♭3 5 | 1 |
| F♯dim | A♯, C× becomes A, C | 1 ♭3 ♭5 | 1 |
| F♯sus2 | A♯, C× becomes G♯, C♯ | 1 2 5 | 1 |
| F♯sus4 | A♯, C× becomes B, C♯ | 1 4 5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| F♯3 | 54 | 185.00 Hz |
| A♯3 | 58 | 233.08 Hz |
| C×4 | 62 | 293.66 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {6, 10, 2}
- Normal order
- [2, 6, 10]
- Prime form
- (048)
- Forte number
- 3-12
- Interval vector
- <000300>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| F♯ to A♯ | Major third | 4 | 4 |
| F♯ to C× | Minor sixth | 8 | 4 |
| A♯ to C× | 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 F♯, 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.