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The augmented seventh chord, or seventh augmented fifth chord, or seventh sharp five chord is a seventh chord composed of a root, major third, augmented fifth, and minor seventh (1, 3, ♯5, ♭7). It can be viewed as an augmented triad with a minor seventh. When using popular-music symbols, it is denoted by +, aug, or . For example, the augmented seventh chord built on A♭, written as A♭+, has pitches A♭-C-E-G♭:

The chord can be represented by the integer notation {0, 4, 8, 10}.

Use

The root is the only optional note in an augmented seventh chord, the fifth being required because it is raised. This alteration is useful in the major mode because the raised 5th creates a leading tone to the 3rd of the tonic triad. See also dominant.

In rock parlance, the term augmented seventh chord is sometimes confusingly and erroneously used to refer to the so-called "Hendrix chord", a 7♯9 chord which contains the interval of an augmented ninth but not an augmented fifth.

The augmented minor seventh chord may be considered an altered dominant seventh and may use the whole tone scale, as may the dominant seventh flat five chord. See chord-scale system.

The augmented seventh chord normally acts as a dominant, resolving to the chord a fifth below. Thus, G aug resolves to a C major or minor chord, for example.

Augmented seventh chord table

Chord	Root	Major third	Augmented fifth	Minor seventh
Caug	C	E	G♯	B♭
C♯aug	C♯	E♯ (F)	G (A)	B
D♭aug	D♭	F	A	C♭ (B)
Daug	D	F♯	A♯	C
D♯aug	D♯	F (G)	A (B)	C♯
E♭aug	E♭	G	B	D♭
Eaug	E	G♯	B♯ (C)	D
Faug	F	A	C♯	E♭
F♯aug	F♯	A♯	C (D)	E
G♭aug	G♭	B♭	D	F♭ (E)
Gaug	G	B	D♯	F
G♯aug	G♯	B♯ (C)	D (E)	F♯
A♭aug	A♭	C	E	G♭
Aaug	A	C♯	E♯ (F)	G
A♯aug	A♯	C (D)	E (F♯)	G♯
B♭aug	B♭	D	F♯	A♭
Baug	B	D♯	F (G)	A

See also

• Augmentation (music)

References

1. Kroepel, Bob (1993). Mel Bay Creative Keyboard's Deluxe Encyclopedia of Piano Chords: A Complete Study of Chords and How to Use Them, p. 15. ISBN 0-87166-579-4.
2. ^ Garner, Robert (2007). Mel Bay Presents Essential Music Theory for Electric Bass, p. 69. ISBN 0-7866-7736-8.
3. ^ Kostka, Stefan; Payne, Dorothy (2004). "The Dominant with a Raised 5th". Tonal Harmony with an Introduction to Twentieth-Century Music (6th ed.). New York. pp. 446–447. ISBN 978-0-07-332713-6.{{cite book}}: CS1 maint: location missing publisher (link)
4. Latarski, Don (1991). An Introduction to Chord Theory, p. 29. ISBN 0-7692-0955-6.
5. Radio: "Shiver down the backbone – Jimi Hendrix comes to Radio 3", The Spectator, by Kate Chisholm, Wednesday, 21 November 2007
6. Hatfield, Ken (2005). Jazz and the Classical Guitar Theory and Applications, p. 121. ISBN 0-7866-7236-6.
7. Berle, Annie (1996). Contemporary Theory and Harmony, p. 100. ISBN 0-8256-1499-6.
8. Bay, William (1994). Mel Bay Complete Jazz Sax Book, p. 64. ISBN 0-7866-0229-5.

v t e Chords
By form	Triad Major Minor Augmented Diminished Suspended Seventh Leading-tone Major Minor Dominant Dominant seventh flat five Diminished Half-diminished Diminished major Minor-major Augmented major Augmented minor Altered seventh Nondominant Harmonic seventh Extended Ninth Eleventh Thirteenth Upper structure Dominant 7♯9 Polychord Tone cluster Added / omitted Sixth Augmented sixth Lydian Seven six Specific Alpha Bridge Complexe sonore Dream Elektra Farben Grandmother Magic Mystic Northern lights Petrushka Psalms So What Tristan Viennese trichord General Mixed interval Secundal Tertian Quartal Synthetic chord Tetrad
By function	Diatonic Tonic Supertonic Mediant Subdominant Dominant Submediant Leading tone / Subtonic Altered Approach Borrowed Chromatic mediant Neapolitan Passing Secondary Secondary dominant Secondary leading-tone Secondary supertonic Other Common Contrast Primary triad Subsidiary Substitute
Techniques	Barre Block Chordioid Chord-scale system Guitar Open Power Slash
Other	Arpeggio Chord names and symbols List of chords Factor

• Seventh chords