Daug is D, F# and A# — D with the fifth raised a semitone.
It sounds stretched, and suspended between keys. Its commonest job is passing between a major triad and its sixth or seventh, with the raised fifth as a single voice walking up.

| D | F# | A# |
|---|---|---|
| 1 | 3 | ♯5 |
Passing chord — it belongs to no key in particular.
Also written D+, D(#5) or D augmented. The same chord either way; which spelling you meet depends on who wrote the chart.
Daug in 1st inversion puts F# in the bass instead of D, the 3rd of the chord. The notes are the same; what changes is what the bass line does, which is most of why you would reach for it — it lets the lowest voice move by step where the root would have jumped.
One of Daug’s 9 common shapes does this: xx4332.
Start with xx0332 — 1 open string and only 3 fretted notes. 1 of the 9 shapes here sits in open position. None of them needs a barre. Together they cover the neck from the 2nd fret to the 12th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| xx0332 | open position | D, root position | F# | 1 open string |
| xx4332 | 2nd fret | F#, 1st inversion | F# | all fretted |
| x5433x | 3rd fret | D, root position | D | all fretted |
| x5x776 | 5th fret | D, root position | A# | all fretted |
| x5877x | 5th fret | D, root position | F# | all fretted |
| xxx776 | 6th fret | D, root position | A# | all fretted |
| 10-9-8-7-7-x | 7th fret | D, root position | F# | all fretted |
| 10-x-12-11-11-10 | 10th fret | D, root position | D | all fretted |
| x-x-12-11-11-10 | 10th fret | D, root position | D | all fretted |
The same notes rebuilt from scratch give 45 triad voicings, each on its own page.
Every note of Daug is in D whole tone and D altered.
Change one note of Daug and you have D (the sharp fifth becomes a fifth), Dmaj7#5 (add the major seventh), Daug7 (add the flat seventh), D/F# (the sharp fifth becomes a fifth), D/A (the sharp fifth becomes a fifth) or D/Bb (add the fifth).
Daug is a augmented chord — root, major third, sharp fifth. Augmented chords on every root.
On Daug’s sound and use this page follows Stefan Kostka, Dorothy Payne & Byron Almén, Tonal Harmony (McGraw-Hill, 8th ed., 2018). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.