CadenzaG augmented seventh
G7(♯5)
Also written G+7 · G7+ · Gaug7 · G7(♭13) without the 5th · G7#5
The augmented 7th: a dominant with its 5th raised to D♯, which leans up into the 3rd of C. The same four notes are also written G7(♭13) — see G7(♭13) for the version that keeps the 5th.
How pianists voice G7(♯5)
Nobody plays a jazz chord in root position. These are the shapes that actually get played — the same ones Cadenza shows when you play the chord.
Shell Left hand
1 · 3 · ♭7 — root, 3rd and 7th: the three notes that say what the chord is. Left hand, low; everything else is colour.
Rootless A From the 3rd
3 · ♯5 · ♭7 · 9 — no root: the bass player has it. The left-hand voicing of modern jazz piano.
Rootless B From the 7th
♭7 · 9 · 3 · ♯5 — the other half of the pair. A and B alternate through a ii–V–I so the hand barely moves.
Drop 2 Two hands
♯5 · 1 · 3 · ♭7 — close position with the second voice from the top dropped an octave: wider, warmer, the standard for chord melody.
G7(♯5) inversions
The same 4 notes with a different one in the bass. Each inversion is written as a slash chord.
Root position G7(♯5)
Root at the bottom, stacked in 3rds: 1 · 3 · ♯5 · ♭7.
1st inversion G7(♯5)/B
B (the 3) in the bass: 3 · ♯5 · ♭7 · 1.
2nd inversion G7(♯5)/D♯
D♯ (the ♯5) in the bass: ♯5 · ♭7 · 1 · 3.
3rd inversion G7(♯5)/F
F (the ♭7) in the bass: ♭7 · 1 · 3 · ♯5.
Augmented seventh chords in every key
Every G chord
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