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B lydian augmented dominant Scale — Guitar Fretboard Visualization

Low E string: E#, F##, G#, A, B, C#, D# at frets 1, 3, 4, 5, 7, 9, 11

A string: A, B, C#, D#, E#, F##, G#, A at frets 0, 2, 4, 6, 8, 10, 11, 12

D string: D#, E#, F##, G#, A, B, C# at frets 1, 3, 5, 6, 7, 9, 11

G string: F##, G#, A, B, C#, D#, E#, F## at frets 0, 1, 2, 4, 6, 8, 10, 12

B string: B, C#, D#, E#, F##, G#, A, B at frets 0, 2, 4, 6, 8, 9, 10, 12

High E string: E#, F##, G#, A, B, C#, D# at frets 1, 3, 4, 5, 7, 9, 11

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B lydian augmented dominant

The lydian augmented dominant scale, the third mode of the neapolitan major scale, stacks every bright alteration onto a dominant sound: raised 4th, raised 5th, flat 7th. It matches 7#5#11 chords note for note, sitting one step further out than lydian dominant. Fusion players use it when a dominant chord should glow rather than resolve.

it consists of these notes and degrees:

B

I+

Baug
C♯

II

C♯maj
D♯

III

D#maj♭5
E♯

#iv°

E♯dim
F𝄪

#V

A7no5/F𝄪
G♯

vi

G♯m
A

bVII+

Aaug

Same notes, different mode

B lydian augmented dominant uses the same notes as the scales below. Start from a different note and you get a new mode built on the very same note set.

C# lydian dominant b6D# major locrianE# half-diminished b4G altered dominant double b3G# neapolitan majorA leading whole tone

lydian augmented dominant in all 12 keys, with chords and related scales

tip
  • Over a 7#5#11 chord, every note of B lydian augmented dominant lands; arpeggiate III, #IV (F), #V (G), bVII (A) to spell the chord's color.
  • Resolve it as a dominant: bVII (A) falls to the 3rd of the chord a 4th above B, and the raised tones settle by half step.
  • One notch brighter than lydian dominant: swap between the two over a vamp by moving only the 5th.
  • It is the third mode of neapolitan major; recycle that scale's fingering from a major 6th below.

How to play B lydian augmented dominant on guitar

Open B is the root, with open A a minor seventh above and open G spelling F## an augmented fifth up, so three strings ring in key untouched. B string fret 0 puts a root on an open string, which means open position work needs no barre. Roots also sit at fret 7 on the low and high E, with fret 2 on the A below. Capo fret 2 and the key becomes A. Fret 11 is where the first shape ends, so the neck splits cleanly there.

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