STRINGSCALES

C lydian #6 Scale — Guitar Fretboard Visualization

Low E string: E, F#, G, A#, B, C, D, E at frets 0, 2, 3, 6, 7, 8, 10, 12

A string: A#, B, C, D, E, F#, G at frets 1, 2, 3, 5, 7, 9, 10

D string: D, E, F#, G, A#, B, C, D at frets 0, 2, 4, 5, 8, 9, 10, 12

G string: G, A#, B, C, D, E, F#, G at frets 0, 3, 4, 5, 7, 9, 11, 12

B string: B, C, D, E, F#, G, A#, B at frets 0, 1, 3, 5, 7, 8, 11, 12

High E string: E, F#, G, A#, B, C, D, E at frets 0, 2, 3, 6, 7, 8, 10, 12

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C lydian #6

The lydian #6 scale, the second mode of the neapolitan minor scale, sharpens both the 4th and 6th of a major scale. Two raised tones above a major frame push it past lydian into genuinely strange brightness, with an augmented 2nd gap between the 5th and the raised 6th. A rarity, best treated as a special-effect color over maj7#11 harmony.

it consists of these notes and degrees:

C

I

Cmaj
D

II+

Daug
E

iii

Em
F♯

#IV

F#maj♭5
G

V

Gmaj
A♯

#VI

C7no5/A♯
B

vii

Bm

Same notes, different mode

C lydian #6 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.

D mixolydian augmentedE romani minorF# locrian dominantG ionian major #2A# ultralocrianB neapolitan minor

lydian #6 in all 12 keys, with chords and related scales

tip
  • Both raised tones (#IV (F#) and #6 (A#)) resolve upward; write lines that climb, and this scale rewards them with brightness past lydian.
  • Over maj7#11 harmony, use the augmented 2nd from V to #6 (A#) as a striking ornament before landing on VII.
  • It is the second mode of neapolitan minor: same notes as the neapolitan minor a whole step below C.
  • Treat it as a special effect: a bar of C lydian #6 (A#) inside plain lydian material glows without needing a chord change.

How to play C lydian #6 on guitar

Five open strings land inside this key, so drones under a fretted line come cheap. Open B carries the major seventh and open G the fifth, which means a ringing pair frames the root before anything is fretted. Roots hold at low E fret 8 and B string fret 1. Daug turns up as the II chord, so the augmented triad is diatonic rather than an accident. Shape one is done at fret 12.

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