G#+9 — G# augmented ninth chord
An augmented triad with the ninth added. The three augmented notes divide the octave equally, and the ninth sits a whole tone above the root.
- 1 = G#
- 3 = B#
- #5 = D##
- 9 = A#
- Symbol
- G#+9
- Root
- G#
- Quality
- Augmented ninth
- Family
- altered
- Notes
- G# B# D## A#
- Degree formula
1 3 #5 9- Semitones from the root
0 2 4 8- Distinct pitch classes
- 4
- Interval structure
- Stacked from the root: 4 semitones, 4 semitones, 6 semitones
- Notation
- Written +9 or aug9. Used as a bright tonic or as an altered dominant where the seventh is supplied by another instrument.
- Key
- G# · Ab major / F minor key signature
Fingering charts
The library holds 5 fingerings of this chord and all of them are shown, in the library’s own order. Several fingerings of one chord is normal: the same notes can be stopped at different positions and on different strings.
Formula
The chord tones in order from the root, with the interval each one forms above it.
| Degree | Note | Semitones | Interval from the root |
|---|---|---|---|
| 1 | G# | 0 | Perfect unison |
| 3 | B# | 4 | Major third |
| #5 | D## | 8 | Minor sixth |
| 9 | A# | 2 | Major second |
Inversions
An inversion is the same set of notes with a different one in the bass. The last column gives the distance of each note above the bass note, in semitones.
| Inversion | Bass note | Degree in the bass | Notes above the bass | Semitones above the bass |
|---|---|---|---|---|
| root position | G# | 1 | G# – B# – D## – A# | 0 4 8 2 |
| first inversion | B# | 3 | B# – D## – A# – G# | 0 4 10 8 |
| second inversion | D## | #5 | D## – A# – G# – B# | 0 6 4 8 |
| third inversion | A# | 9 | A# – G# – B# – D## | 0 10 2 6 |
Playable voicings
These shapes were found by searching the fretboard of a standard-tuned guitar (E A D G B E) rather than copied from a chord book. The search allows every string to sound or to be muted, rejects any shape with a muted string between two sounding strings, rejects any shape whose fretted notes span more than four frets (a five-fret window), requires every chord tone to be present, and then sorts what remains with root-position shapes first and the most compact, lowest shapes next. The shapes shown are the first six of that ordering; other orderings are possible at the same frets.
| # | Shape (low string first) | Notes | Degrees | Bass | Span (frets) | Sounding strings |
|---|---|---|---|---|---|---|
| 1 | 4-1-2-1-1-4 | G# A# E G# C G# | 1 9 #5 1 3 1 | G# | 3 | 6 |
| 2 | 4-1-2-3-1-4 | G# A# E A# C G# | 1 9 #5 9 3 1 | G# | 3 | 6 |
| 3 | 4-3-2-3-1-4 | G# C E A# C G# | 1 3 #5 9 3 1 | G# | 3 | 6 |
| 4 | 4-3-2-3-5-4 | G# C E A# E G# | 1 3 #5 9 #5 1 | G# | 3 | 6 |
| 5 | 4-3-6-3-5-4 | G# C G# A# E G# | 1 3 1 9 #5 1 | G# | 3 | 6 |
| 6 | 4-3-6-3-5-6 | G# C G# A# E A# | 1 3 1 9 #5 9 | G# | 3 | 6 |
Shape numbers run from the lowest string to the highest, so the left-hand number is the sixth string (low E) in standard tuning. Multiple shapes are listed because a chord can be voiced several ways, and because a lower position is not always the better sounding one.
Related chords and scales
- KeyEverything in G#
- ScaleG# whole tone
- ChordG#aug
- ChordG#
- ChordG#7
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