G augmented — G, B, D♯ — stacks two major thirds. G+ is enharmonically equivalent to E♭+ and B+ in inversion. The chord most often functions as III+ of E harmonic minor (where the harmonic-minor leading tone D♯ raises the III chord), or as an altered V in C minor.
Intervals
The G augmented chord stacks two thirds on the root. Each interval and its size in semitones:
- G→Bmajor 3rd4 semitones
- B→D#major 3rd4 semitones
- G→D#augmented 5th8 semitones
On the keyboard
Each note of the G augmented chord highlighted on a piano. Pitch class is what matters — any octave works.
On the guitar
One voicing of the G augmented chord on a six-string guitar fretboard.
Common mistakes
G+ has G and B as the lower notes (matching G major) but the fifth is D♯, not D natural. The single sharp on D is the chord's identity; replacing it with D natural makes a G major chord. On guitar, G+ is most often a closed-position three-string voicing — the augmented fifth doesn't fit any of the standard barre shapes.
In context
G+ functions as III+ of E harmonic minor: Em → G+ → C (i → III+ → VI). It also functions as an altered V chord in C minor: G+ → Cm replaces the standard V → i with the augmented fifth (D♯) leading to E♭ in the tonic. The "Bond chord" (the iconic James Bond theme opener) is a similar augmented sonority.
Drill it
The G 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 G augmented chord?
- G augmented contains three notes: G (the root), B (the major third), and D♯ (the augmented fifth).
- How does G augmented resolve?
- In E minor, G+ resolves to C major (III+ → VI). As V+ in C minor, G+ resolves to C minor with D♯ rising to E♭ in the tonic chord.
- How is G+ different from G major?
- Only the fifth changes. G major is G–B–D; G+ raises the D to D♯. The half-step shift creates the chord's floating, suspended sound.
- Where does G augmented appear in famous music?
- In E minor harmonic-minor cadences, in C minor altered-dominant progressions (Beethoven uses these constantly in his C-minor works), and in Romantic chromatic harmony as a colour chord.