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♯ | white | 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 A♭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♯4 D×4 | 8 | 110 mm | none | identical | |
| Close, first inversion | B♯4 D×4 G♯4 | 8 | 110 mm | none | identical | |
| Close, second inversion | D×4 G♯4 B♯5 | 8 | 110 mm | none | identical | |
| Open, fifth on top | G♯2 D×3 B♯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 | G♯3 B♯4 | 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♯4, D×4 | 5/3 | 8 | 110 mm |
| First inversion: G♯aug/B♯ | B♯ | B♯4, D×4, G♯4 | 6/3 | 8 | 110 mm |
| Second inversion: G♯aug/D× | D× | D×4, G♯4, B♯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 |
|---|---|---|---|
| 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 | 56 | 207.65 Hz |
| B♯4 | 60 | 261.63 Hz |
| D×4 | 64 | 329.63 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {8, 0, 4}
- Normal order
- [0, 4, 8]
- 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.