The augmented chord raises the 5th by a half step, creating a tense, upward-pulling harmony. Here is everything you need, from the basic triad to augmented extensions, in all 12 keys.
An augmented chord is a major triad with its 5th raised by one half step. Where a C major triad has C - E - G, C augmented has C - E - G#. That single raised note changes the sound from stable to tense and upward-pulling.
Because the augmented triad stacks two major thirds (4 semitones each), it is symmetrical: every note in the chord can serve as the root. C aug = E aug = Ab aug. This is why only 4 unique augmented triads cover all 12 roots.
| Root | aug (1-3-#5) | Notes | augmaj7 (1-3-#5-7) | aug7 / 7#5 (1-3-#5-b7) |
|---|---|---|---|---|
| C | Caug | C - E - G# | Cmaj7#5 (C-E-G#-B) | C7#5 (C-E-G#-Bb) |
| C# | C#aug | C# - F - A | C#maj7#5 (C#-F-A-C) | C#7#5 (C#-F-A-B) |
| D | Daug | D - F# - A# | Dmaj7#5 (D-F#-A#-C#) | D7#5 (D-F#-A#-C) |
| Eb | Ebaug | Eb - G - B | Ebmaj7#5 (Eb-G-B-D) | Eb7#5 (Eb-G-B-Db) |
| E | Eaug | E - G# - C | Emaj7#5 (E-G#-C-D#) | E7#5 (E-G#-C-D) |
| F | Faug | F - A - C# | Fmaj7#5 (F-A-C#-E) | F7#5 (F-A-C#-Eb) |
| F# | F#aug | F# - A# - D | F#maj7#5 (F#-A#-D-F) | F#7#5 (F#-A#-D-E) |
| G | Gaug | G - B - D# | Gmaj7#5 (G-B-D#-F#) | G7#5 (G-B-D#-F) |
| Ab | Abaug | Ab - C - E | Abmaj7#5 (Ab-C-E-G) | Ab7#5 (Ab-C-E-Gb) |
| A | Aaug | A - C# - F | Amaj7#5 (A-C#-F-G#) | A7#5 (A-C#-F-G) |
| Bb | Bbaug | Bb - D - F# | Bbmaj7#5 (Bb-D-F#-A) | Bb7#5 (Bb-D-F#-Ab) |
| B | Baug | B - D# - G | Bmaj7#5 (B-D#-G-A#) | B7#5 (B-D#-G-A) |
Because the augmented triad divides the octave into three equal major thirds, every note in the chord can serve as the root. C aug = E aug = G# aug. This means all 12 roots map onto just 4 unique note collections.
The 5th rises from G to G# to A (the 3rd of F). Creates a smooth chromatic voice in the top register. Most common augmented progression in pop and rock.
Extended version of the I-Iaug-IV pattern. Gives the top voice a longer chromatic run: G - G# - A and more time to feel the movement before resolving to IV.
G7#5 contains G - B - D# - F. The D# raises the 5th of the dominant, creating extra tension before resolution to C. A standard jazz and neo-soul dominant substitution.
Chromatic descent/ascent in the inner voice: G - G# - B (or Eb - Eb - E). Creates a shimmer effect over a held root and 3rd. Common in film scoring and ambient music.
Variant of the I-V-vi-IV pop progression. Replaces the V with Iaug for an in-between color chord. The Caug lands between the stable I and the Am vi chord.
| Genre | Best aug types | How used | Example |
|---|---|---|---|
| Jazz | aug7 (7#5), augmaj7 | V chord substitution, cadential tension before tonic | G7#5 resolving to C |
| Neo-Soul / R&B | augmaj7, aug9 | Tonic color chord, ethereal floating quality over sustained root | Cmaj7#5 vamp |
| Pop / Rock | aug triad | I - Iaug - IV passing chord, chromatic top-voice climb | Beatles "Oh! Darling", "Something" |
| Film Score | aug triad, augmaj7 | Dreamy or surreal transition, mystery cues, ascending string lines | Herrmann, Williams suspended moments |
| Impressionism / Classical | aug triad, aug sequence chains | Color chord, cycle of major 3rds, whole-tone harmony | Liszt, Debussy, Ravel |
| Blues / Gospel | aug7, aug triad | Turnaround chord, V aug7 before the tonic, chromatic passing | Slow blues turnaround: I - Iaug - IV |
| Lo-Fi / Chill Hop | augmaj7 | Dreamy background chord, shimmer pad layer over bass loop | Cmaj7#5 in a slow lo-fi loop at 75 BPM |
| Chord type | Formula | In C | Sound quality | Resolves | Best for |
|---|---|---|---|---|---|
| Augmented (aug) | 1 - 3 - #5 | C - E - G# | Tense, upward-pulling, bright | Upward (G# to A) | Chromatic passing, I-Iaug-IV, V7#5 |
| Diminished (dim) | 1 - b3 - b5 | C - Eb - Gb | Dark, tense, unstable | Inward or half-step above | Passing, leading tone, jazz/classical |
| Suspended (sus4) | 1 - 4 - 5 | C - F - G | Open, floating, ambiguous major/minor | 4th drops to 3rd | Pre-tonic suspension, pre-drop build |
| Suspended (sus2) | 1 - 2 - 5 | C - D - G | Airy, open, non-committal | 2nd rises to 3rd | Loop color chord, ambient pad |
An augmented chord (written aug or with a plus sign) is a major triad with a raised 5th. The formula is 1 - 3 - #5. In C, this gives C - E - G#. The raised 5th creates a tense, unresolved sound. Because all three intervals are major thirds (4 semitones apart), the augmented triad is symmetrical: C aug, E aug, and Ab aug are all the same set of notes (C - E - G#/Ab). This means there are only 4 unique augmented triads covering all 12 roots.
The augmented triad (aug) has 3 notes: 1 - 3 - #5. The augmented major 7th chord (augmaj7) adds a major 7th: 1 - 3 - #5 - 7. The augmented dominant 7th (aug7, also written +7 or 7#5) adds a minor 7th: 1 - 3 - #5 - b7. augmaj7 has an ethereal, floating quality used in jazz and neo-soul. aug7 has a strong pull toward resolution and is common in jazz progressions and chromatic passing chords.
Augmented chords appear as chromatic passing chords (I - I aug - IV), as a harmonized raised 5th in melodic sequences, in jazz reharmonization (V aug7 before I), in film scores for dreamlike or surreal moments, in Beatles-style chromatic harmony, and as a chromatic color chord in neo-soul and R&B. The aug triad is common in impressionist and post-Romantic classical music (Liszt, Debussy, Ravel).
Use BeatKey to detect the key of your sample, then place an augmented chord on the I or V degree for chromatic upward movement. The most common pattern is I - Iaug - IV: in C major, that is C - Caug - F. The aug chord raises the 5th by a half step (G to G#), which then resolves to A (the 3rd of F major). In your Piano Roll, place the Caug on beat 3, moving the top voice from G to G# before landing on F. Try V aug7 (G aug7 in C) before the tonic for a strong jazz cadence.