D♭ augmented — D♭, F, A — stacks two major thirds. Like all augmented triads it's symmetric — D♭+, F+, and A+ share the same three pitches in different inversions. The chord most commonly appears as a chromatic-mediant colour or as the III+ of B♭ harmonic minor.
Intervals
The Db augmented chord stacks two thirds on the root. Each interval and its size in semitones:
- Db→Fmajor 3rd4 semitones
- F→Amajor 3rd4 semitones
- Db→Aaugmented 5th8 semitones
On the keyboard
Each note of the Db augmented chord highlighted on a piano. Pitch class is what matters — any octave works.
On the guitar
One voicing of the Db augmented chord on a six-string guitar fretboard.
Common mistakes
D♭+ contains D♭, F, and A. The fifth A is natural, not A♭ — replacing A with A♭ makes a D♭ major chord. The mixed accidentals (one flat, two naturals) are the visual signature of D♭+. The chord is enharmonically the same set of pitches as F+ and A+; on a recording you can't tell them apart.
In context
D♭+ functions as III+ of B♭ harmonic minor. The progression B♭m → D♭+ → G♭ (i → III+ → VI) is a Romantic-era harmonic turn. In jazz, D♭+ also appears as an altered dominant in F minor — a substitute for the V chord with the augmented fifth as a tension to resolve into the i chord.
Drill it
The Db augmented chord is one of 48 in the Chord Trainer. Open the full trainer to practice it alongside related chords with timing and best-time tracking.
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Frequently asked
- What notes are in a D♭ augmented chord?
- D♭ augmented contains three notes: D♭ (the root), F (the major third), and A (the augmented fifth).
- Is D♭ augmented the same as F augmented?
- Enharmonically yes — same three pitches, just inverted. D♭+, F+, and A+ all contain D♭, F, and A. Which one you write depends on which root sits at the bottom in context.
- How is D♭+ different from D♭ major?
- Only the fifth changes. D♭ major has A♭ as the fifth; D♭+ raises that fifth to A natural. The augmented fifth gives the chord its floating, unresolved sound.
- Where does D♭ augmented appear in music?
- In B♭ minor harmonic-minor passages (as III+), in chromatic-mediant motion in flat-side keys, and as an altered dominant in jazz voicings. It's less common than C+ or A+ but theoretically equivalent.