F#aug7 is F#, A#, C## and E. Start with and raise the 5th from to raised 5th (C##). You’ll also see this chord written F#7♯5 or F#7(♯5).
Hear that one-note change by comparing with F#aug7.
Only the 5th changes: C♯ rises a half step to C♯#. The other notes stay in place.
When F#aug7 resolves to , that C##♯5 can rise another half step to .
Also written F#7#5, F#+7 or F#7(#5).

F#aug7 is a dominant with its tension raised, so it still points at — harder than a plain seventh does. A plain dominant has two voices a semitone from home; an altered one has four, because every altered tone is also sitting a semitone from a note of B. More voices leaning the same way is all "more tension" means here.
In a phrase:→→
The ii–V–I of B.
Voice by voice, F#aug7 → . 3 voices move by a semitone, and one note is common to both chords. Every voice that moves at all moves by a semitone — the shortest distance there is, which is why the change sounds settled rather than sudden.
| In F#aug7 | Moves | In B |
|---|---|---|
| F#, the root | stays where it is | F#, the fifth |
| A#, the major third | rises a semitone | B, the root |
| D, the sharp fifth | rises a semitone | D#, the major third |
| E, the flat seventh | falls a semitone | D#, the major third |
Contains F#aug7 and adds ninth and flat fifth.
Contains F#aug7 and adds flat ninth, sharp ninth and flat fifth.
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.