Construction
| Note | Interval | Degree |
|---|---|---|
| G♭ | Root | 1 |
| B♭ | Major 3rd | 3 |
| D | Minor 6th | ♯5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| G♭ | black | thumb (1) | little finger (5) |
| B♭ | black | middle finger (3) | middle finger (3) |
| D | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on G♭, middle finger (3) on B♭, little finger (5) on D.
Left hand: little finger (5) on G♭, middle finger (3) on B♭, thumb (1) on D.
G♭ Augmented Inversions
- Root positionG♭ – B♭ – D
- 1st inversion (G♭aug/B♭)B♭ – D – G♭
- 2nd inversion (G♭aug/D)D – G♭ – B♭
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 G♭ Major
These are the triads built on each degree of G♭ Major:
Same Notes, Other Names
The notes G♭ – B♭ – D 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:
G♭ Augmented : Frequently Asked Questions
What notes are in G♭aug?
How do you play G♭aug on piano?
What are the inversions of G♭aug?
What is the difference between G♭aug and G♭aug7?
What is an easy G♭aug for small hands?
What are the frequencies of G♭aug?
What is the set class of G♭aug?
How do I transpose G♭aug to another key?
Is F♯aug the same as G♭aug?
G♭ 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 | G♭3 B♭3 D4 | 8 | 110 mm | none | identical | |
| Close, first inversion | B♭3 D4 G♭4 | 8 | 110 mm | none | identical | |
| Close, second inversion | D4 G♭4 B♭4 | 8 | 110 mm | none | identical | |
| Open, fifth on top | G♭2 D3 B♭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 | G♭3 B♭3 | 4 | 55 mm | omits D | 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 | G♭ | G♭3, B♭3, D4 | 5/3 | 8 | 110 mm |
| First inversion: G♭aug/B♭ | B♭ | B♭3, D4, G♭4 | 6/3 | 8 | 110 mm |
| Second inversion: G♭aug/D | D | D4, G♭4, B♭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 |
|---|---|---|---|
| G♭aug7 | adds F♭ | 1 3 ♯5 ♭7 | 3 |
| G♭ | D becomes D♭ | 1 3 5 | 2 |
| G♭maj7 | D becomes D♭, F | 1 3 5 7 | 2 |
| G♭7 | D becomes D♭, F♭ | 1 3 5 ♭7 | 2 |
| G♭6 | D becomes D♭, E♭ | 1 3 5 6 | 2 |
| G♭add9 | D becomes D♭, A♭ | 1 3 5 9 | 2 |
| G♭m | B♭, D becomes B♭♭, D♭ | 1 ♭3 5 | 1 |
| G♭dim | B♭, D becomes B♭♭, D♭♭ | 1 ♭3 ♭5 | 1 |
| G♭sus2 | B♭, D becomes A♭, D♭ | 1 2 5 | 1 |
| G♭sus4 | B♭, D becomes C♭, D♭ | 1 4 5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| G♭3 | 54 | 185.00 Hz |
| B♭3 | 58 | 233.08 Hz |
| D4 | 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 |
|---|---|---|---|
| G♭ to B♭ | Major third | 4 | 4 |
| G♭ to D | Minor sixth | 8 | 4 |
| B♭ to D | 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 G♭, 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.