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E♭ mixolydian augmented Scale — Guitar Fretboard Visualization

Low E string: F, G, Ab, B, C, Db, Eb at frets 1, 3, 4, 7, 8, 9, 11

A string: B, C, Db, Eb, F, G, Ab at frets 2, 3, 4, 6, 8, 10, 11

D string: Eb, F, G, Ab, B, C, Db at frets 1, 3, 5, 6, 9, 10, 11

G string: G, Ab, B, C, Db, Eb, F, G at frets 0, 1, 4, 5, 6, 8, 10, 12

B string: B, C, Db, Eb, F, G, Ab, B at frets 0, 1, 2, 4, 6, 8, 9, 12

High E string: F, G, Ab, B, C, Db, Eb at frets 1, 3, 4, 7, 8, 9, 11

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Eb 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:

E♭

I+

E♭aug
F

ii

Fm
G

III

Gmaj♭5
A♭

IV

A♭maj
B

#V

D♭7no5/B
C

vi

Cm
D♭

bVII

D♭maj

Same notes, different mode

Eb 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.

F romani minorG locrian dominantAb ionian major #2B ultralocrianC neapolitan minorDb lydian #6

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

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

Two open strings belong here, the G and the B, and neither one is the root, so treat them as colour instead of an anchor. Root nearest the nut is on the D string at fret 1, while the lowest root climbs to fret 11 on the low E. Three flats in the signature. Capo at fret 1 shifts everything into D, which means the open-string shapes of that key carry over. bVII is Db major, giving the progression a flat-seven major chord to lean on.

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