An open string left ringing against a fretted grip. Because it costs no finger, it sounds a note the closed shape has none left for -- a tension on top, or a pedal root underneath. Either a familiar grip with open strings added, or a shape so sparse the open strings carry the chord. These belong to their key rather than to a shape, so D, A, G and E have many and Eb a handful.
Gaug is G, B and D# — G 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.

| G | B | D# |
|---|---|---|
| 1 | 3 | ♯5 |
Passing chord — it belongs to no key in particular.
Also written G+, G(#5) or G augmented. The same chord either way; which spelling you meet depends on who wrote the chart.
An open string left ringing against a fretted grip. It costs no finger, so it can sound a note the closed shape has none left for: a tension on top, or a pedal root underneath.
These belong to their key rather than to a shape: they cannot be moved up the neck. D, A, G and E have many; E♭ has a handful.
Gaug has 1 of them, only on the middle four strings, all of them at the 5th fret — all in one inversion, so the bass note never moves. The one to learn first is the D# shape at the 5th fret, which is the easiest grip here.
Start with 32100x — 2 open strings 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 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 32100x | open position | G, root position | B | 2 open strings |
| 3x5443 | 3rd fret | G, root position | G | all fretted |
| xx5443 | 3rd fret | G, root position | G | all fretted |
| xx9887 | 7th fret | B, 1st inversion | B | all fretted |
| x-10-9-8-8-x | 8th fret | G, root position | G | all fretted |
| x-10-x-12-12-11 | 10th fret | G, root position | D# | all fretted |
| x-10-13-12-12-x | 10th fret | G, root position | B | all fretted |
| x-x-x-12-12-11 | 11th fret | G, root position | D# | all fretted |
| 15-14-13-12-12-x | 12th fret | G, root position | B | all fretted |
The same notes rebuilt from scratch give 46 triad voicings, each on its own page.
Every note of Gaug is in G whole tone and G altered.
Change one note of Gaug and you have G (the sharp fifth becomes a fifth), Gmaj7#5 (add the major seventh), Gaug7 (add the flat seventh), G/B (the sharp fifth becomes a fifth) or G/D (the sharp fifth becomes a fifth).
Gaug is a augmented chord — root, major third, sharp fifth. Augmented chords on every root.
On Gaug’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.