Arpeggio of the Major seventh chord with the risen V fifth degree, one octave Gmaj7#5
Arpeggio of the Dominant seventh chord with the risen V fifth degree, one octave G7#5
An augmented seventh chord is a relative notion, because the Whole tone scale consists of only six degrees, so, the natural augmented seventh chord can't be built on its base. That's why augmented seventh chords should be viewed as altered diatonic seventh chords.
There are two kinds of the diminished scale: "half step - whole step" and "whole step - half step". Names of these scales display principles of their constructions. The half - whole step diminished scale crosses an octave (twelve half tones) in the half - whole step "style", and the whole-half step scale - accordingly to its name. Both of these consist of eight degrees.
Fingerings for diminished scales do not go into one position, that's why you should always use transitions on every string or extended positions. This is a good training after the habit of playing diatonic scales in one fretboard location.
Symmetrical diminished scale (H-W) one octave Gdim
Inverse Symmetrical diminished scale (W-H) one octave Gdim
One octave diminished triad arpeggio Gdim
Diminished seventh chords in contrast to augmented sevenths have their own status, because there are eight degrees in the Diminished scale. As well as in case of triads, here also only one Diminished seventh chord is built on base of both kinds of the Diminished scale.
One octave diminished seventh chord arpeggio Gdim (H-W)
Curiously enough, the same diminished triad is built on base of both kinds of the Diminished scale. Look attentively, is that really so?
Inverse Symmetrical diminished scale (W-H) two octaves Gdim
When you perform two octave Diminished scale, you can play both its kinds using the same fingering, starting from different degrees.
Two octave diminished seventh chord arpeggio Gdim
When you perform two octave Whole tone scale, or employ an extended position, you should use the below fingering (1, 2, 4).