STRINGSCALES

D mixolydian augmented 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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D 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+

Daug
E

ii

Em
F♯

III

F#maj♭5
G

IV

Gmaj
A♯

#V

C7no5/A♯
B

vi

Bm
C

bVII

Cmaj

Same notes, different mode

D 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.

E romani minorF# locrian dominantG ionian major #2A# ultralocrianB neapolitan minorC lydian #6

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

tip
  • Over a 7#5 chord on D, this scale keeps the natural 6th (B) that the whole tone scale loses; use VI to soften the augmented tension.
  • Resolve #V (A#) up to VI, then bVII (C) 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 D.
  • 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

Open D is the root and four more open strings fall in the scale, so first-position lines can ring against the tonic. Raised fifth is A#, which puts the open A string outside the pattern. Lowest root waits at fret 10 on the low E string, where the E-shape barre also sits. IV is G major. Two sharps in the signature, and the position shift lands at fret 14, meaning box one owns everything from the root up to that point.

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