F#aug is F#, A# and D — F# 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.
Passing chord — it belongs to no key in particular.

| F# | A# | D |
|---|---|---|
| 1 | 3 | ♯5 |
Also written F#+, F#(#5) or F# augmented. The same chord either way; which spelling you meet depends on who wrote the chart.
Three notes on one string set. No seventh, so nothing is claimed about the chord beyond its quality.
Thin on their own, excellent over a bass line or against someone else’s harmony.
F#aug has 45 of them, on the bottom three strings, the bottom four strings, the top three strings, the top four strings, the high-middle three, the low-middle three, the middle four strings, strings 5-3-2-1 and strings 6-4-3-2, from open position up to the 14th — every inversion the chord has: F# in the bass, A# in the bass and C## in the bass. The one to learn first is the F# shape at the nut, which is the easiest grip here.
6 of them sit on the bottom four strings, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
All 8 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
Every note of F#aug is in F# whole tone and F# altered.
Change one note of F#aug and you have F# (the sharp fifth becomes the fifth), F#maj7#5 (add the major seventh) or F#aug7 (add the flat seventh).
F#aug is a augmented chord — root, major third, sharp fifth. Augmented chords on every root.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.