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D♭ lydian dominant Scale — Guitar Fretboard Visualization

Low E string: F, G, Ab, Bb, Cb, Db, Eb at frets 1, 3, 4, 6, 7, 9, 11

A string: Bb, Cb, Db, Eb, F, G, Ab at frets 1, 2, 4, 6, 8, 10, 11

D string: Eb, F, G, Ab, Bb, Cb, Db at frets 1, 3, 5, 6, 8, 9, 11

G string: G, Ab, Bb, Cb, Db, Eb, F, G at frets 0, 1, 3, 4, 6, 8, 10, 12

B string: Cb, Db, Eb, F, G, Ab, Bb, Cb at frets 0, 2, 4, 6, 8, 9, 11, 12

High E string: F, G, Ab, Bb, Cb, Db, Eb at frets 1, 3, 4, 6, 7, 9, 11

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Db lydian dominant

The lydian dominant scale, the fourth mode of the melodic minor scale, is also called the acoustic or overtone scale: a dominant 7th sound with a raised 4th. It is the sound of a 7#11 chord (the Simpsons theme opens with it) and the standard choice over non-resolving dominants like tritone substitutes. Brighter than mixolydian, bluesier than lydian.

it consists of these notes and degrees:

D♭

I

D♭maj
E♭

II

E♭maj
F

iii°

Fdim
G

#iv°

Gdim
A♭

v

A♭m
B♭

vi

B♭m
C♭

bVII+

C♭aug

Characteristic notes: G (#4) and B (b7), the raised fourth combined with the flat seventh, the classic jazz fusion color.

Same notes, different mode

Db lydian 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.

Eb mixolydian b6F locrian #2G alteredAb melodic minorBb dorian b2Cb lydian augmented

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

tip
  • Over a 7#11 or any non-resolving dominant on Db, this is the default modern choice: mixolydian's bVII (B) with lydian's #IV (G).
  • Use it on tritone-substitute chords: when the bass plays a half step above the target, Db lydian dominant supplies every right note.
  • Feature the #4 (G) against the chord's 5th in the same phrase; that rub is the scale's identity (think of the Simpsons theme opening).
  • It is the fourth mode of melodic minor: borrow your melodic minor fingering starting a 4th below Db.

How to play D♭ lydian dominant on guitar

Open G gives the raised fourth and open B the minor seventh, so two upper notes stay available without a finger down. Capo at fret 1 and the shapes read as C lydian dominant, which means five flats stop being a reading problem. Lowest root sits at fret 9. Box one ends at fret 13, so the second position carries the upper neck, and Bbm covers the vi chord.

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