STRINGSCALES

D♭ mixolydian augmented Scale — Guitar Fretboard Visualization

Low E string: F, Gb, A, Bb, Cb, Db, Eb at frets 1, 2, 5, 6, 7, 9, 11

A string: A, Bb, Cb, Db, Eb, F, Gb, A at frets 0, 1, 2, 4, 6, 8, 9, 12

D string: Eb, F, Gb, A, Bb, Cb, Db at frets 1, 3, 4, 7, 8, 9, 11

G string: A, Bb, Cb, Db, Eb, F, Gb at frets 2, 3, 4, 6, 8, 10, 11

B string: Cb, Db, Eb, F, Gb, A, Bb, Cb at frets 0, 2, 4, 6, 7, 10, 11, 12

High E string: F, Gb, A, Bb, Cb, Db, Eb at frets 1, 2, 5, 6, 7, 9, 11

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Db mixolydian augmented

The mixolydian augmented scale, the third mode of the neapolitan minor scale, is mixolydian with a raised 5th: a dominant 7th sound whose 5th has been pushed up. It matches 7#5 chords exactly, offering a whole-tone flavor that keeps the natural 6th for melodic relief. Use it where an augmented dominant needs more than the whole tone scale offers.

it consists of these notes and degrees:

D♭

I+

D♭aug
E♭

ii

E♭m
F

III

Fmaj♭5
G♭

IV

G♭maj
A

#V

C♭7no5/A
B♭

vi

B♭m
C♭

bVII

C♭maj

Same notes, different mode

Db mixolydian augmented 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 romani minorF locrian dominantGb ionian major #2A ultralocrianBb neapolitan minorCb lydian #6

mixolydian augmented in all 12 keys, with chords and related scales

tip
  • Over a 7#5 chord on Db, this scale keeps the natural 6th (Bb) that the whole tone scale loses; use VI to soften the augmented tension.
  • Resolve #V (A) up to VI, then bVII (B) down toward the 3rd of the next chord; the scale spells its own voice leading.
  • It is the third mode of neapolitan minor: borrow that fingering from a major 6th below Db.
  • Alternate it with plain mixolydian over a static dominant riff; sliding the 5th up and back a half step animates the vamp.

How to play D♭ mixolydian augmented on guitar

Capo at fret 1 puts C shapes under Db mixolydian augmented, which lets you dodge five flats on paper. Two open strings fall inside the scale, and neither is the root, so a pedal tone here has nothing to anchor. Lowest root sits at fret 9 on the low E string, and box one runs to the shift at fret 13. Ebm fills the ii chord. A-shape barre at fret 4 and E-shape at fret 9 bracket the neck, giving two launch points for the same key.

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