The standard grips this chord is usually shown with.
Ebaug is Eb, G and B — Eb 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.

| Eb | G | B |
|---|---|---|
| 1 | 3 | ♯5 |
Passing chord — it belongs to no key in particular.
Also written Eb+, Eb(#5) or Eb augmented. The same chord either way; which spelling you meet depends on who wrote the chart.
Ebaug in 1st inversion puts G in the bass instead of Eb, 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 Ebaug’s 8 common shapes does this: xx5443.
Start with xxx887 — only 3 fretted notes. None of the shapes for Ebaug uses an open string, so every one of them is movable; the lowest sits at the 3rd fret. None of them needs a barre. Together they cover the neck from the 3rd fret to the 13th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| xx5443 | 3rd fret | G, 1st inversion | G | all fretted |
| x6544x | 4th fret | Eb, root position | Eb | all fretted |
| x6x887 | 6th fret | Eb, root position | B | all fretted |
| x6988x | 6th fret | Eb, root position | G | all fretted |
| xxx887 | 7th fret | Eb, root position | B | all fretted |
| 11-10-9-8-8-x | 8th fret | Eb, root position | G | all fretted |
| 11-x-13-12-12-11 | 11th fret | Eb, root position | Eb | all fretted |
| x-x-13-12-12-11 | 11th fret | Eb, root position | Eb | all fretted |
The same notes rebuilt from scratch give 46 triad and 2 open string voicings, each on its own page.
Every note of Ebaug is in Eb whole tone and Eb altered.
Change one note of Ebaug and you have Eb (the sharp fifth becomes a fifth), Ebmaj7#5 (add the major seventh) or Ebaug7 (add the flat seventh).
Ebaug is a augmented chord — root, major third, sharp fifth. Augmented chords on every root.
On Ebaug’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.