STRINGSCALES

D major augmented Scale — Guitar Fretboard Visualization

Low E string: E, F#, G, A#, B, C#, D, E at frets 0, 2, 3, 6, 7, 9, 10, 12

A string: A#, B, C#, D, E, F#, G at frets 1, 2, 4, 5, 7, 9, 10

D string: D, E, F#, G, A#, B, C#, D at frets 0, 2, 4, 5, 8, 9, 11, 12

G string: G, A#, B, C#, D, E, F#, G at frets 0, 3, 4, 6, 7, 9, 11, 12

B string: B, C#, D, E, F#, G, A#, B at frets 0, 2, 3, 5, 7, 8, 11, 12

High E string: E, F#, G, A#, B, C#, D, E at frets 0, 2, 3, 6, 7, 9, 10, 12

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D major augmented

The major augmented scale, also called ionian #5, is a major scale with a raised 5th: the third mode of the harmonic minor scale. One alteration turns the tonic triad augmented while every other degree stays diatonic, so familiar melodies acquire a lifted, unresolved center. It is the cleanest scale choice over maj7#5 chords.

it consists of these notes and degrees:

D

I+

Daug
E

ii

Em
F♯

III

F♯maj
G

IV

Gmaj
A♯

#v°

A♯dim
B

vi

Bm
C♯

vii°

C♯dim

Characteristic note: A# (#5), the raised fifth that gives everything an augmented shimmer.

Same notes, different mode

D major 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.

E dorian #4F# phrygian dominantG lydian #9A# ultralocrianB harmonic minorC# locrian 6

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

tip
  • Play D major and raise only the 5th (A#): the tonic triad turns augmented while every melody note stays familiar.
  • Use it over maj7#5 chords; as harmonic minor's third mode it shares fingerings with the harmonic minor a major 3rd above... borrow them.
  • Resolve #V (A#) upward to VI or down to V mid-phrase; parking on it keeps the suspense, moving it tells a story.
  • Try a I to iii change in D: the augmented I chord against the minor iii creates the scale's signature lift.

How to play D major augmented on guitar

Open D rings as the root itself while the open G supplies a perfect fourth, so a pedal tone is available with no fretting hand at all. Open B and both E strings belong too. Roots repeat at fret 10 on the low E and fret 7 on the G string, which means open-position work and an octave jump share one shape. Daug, Em and Bm cover most of what a rhythm part needs.

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