G sharp falls outside the modern chakra-tone correspondence system for the same structural reason as the table's other chromatic notes: the system was built around the seven natural notes matched one to one against the seven chakras, and its original twentieth century authors left the five intervening chromatic notes unassigned. No widely accepted source in the chakra-tone literature gives G sharp a chakra of its own.
Popular writers who have proposed chromatic-note chakra assignments generally treat G sharp, sitting between the Throat and Third Eye chakras in the standard ascending correspondence, as a transitional state connecting expression and inner vision, but this and similar proposals remain individual inventions without general acceptance, and different authors offer different, mutually disagreeing schemes.
Sound healing practitioners who work from the seven note correspondence therefore generally treat the five chromatic pitches, G sharp included, as falling between two assigned notes rather than carrying one of their own, an approach consistent with how the mapping itself was built. Where a practitioner or teacher does extend the scheme to all twelve pitches, the specific assignment given to G sharp differs from one source to the next, since no single twelve tone extension of the system has become standard the way the original seven note mapping has. This entry describes correspondences documented in that popular literature without treating any one of them as an authoritative extension of the underlying system.