STRINGSCALES

F♯ lydian #6 Scale — Guitar Fretboard Visualization

Low E string: D##, E#, F#, G#, A#, B#, C#, D## at frets 0, 1, 2, 4, 6, 8, 9, 12

A string: A#, B#, C#, D##, E#, F#, G# at frets 1, 3, 4, 7, 8, 9, 11

D string: D##, E#, F#, G#, A#, B#, C# at frets 2, 3, 4, 6, 8, 10, 11

G string: G#, A#, B#, C#, D##, E#, F# at frets 1, 3, 5, 6, 9, 10, 11

B string: B#, C#, D##, E#, F#, G#, A# at frets 1, 2, 5, 6, 7, 9, 11

High E string: D##, E#, F#, G#, A#, B#, C#, D## at frets 0, 1, 2, 4, 6, 8, 9, 12

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F# lydian #6

The lydian #6 scale, the second mode of the neapolitan minor scale, sharpens both the 4th and 6th of a major scale. Two raised tones above a major frame push it past lydian into genuinely strange brightness, with an augmented 2nd gap between the 5th and the raised 6th. A rarity, best treated as a special-effect color over maj7#11 harmony.

it consists of these notes and degrees:

F♯

I

F♯maj
G♯

II+

G♯aug
A♯

iii

A♯m
B♯

#IV

B#maj♭5
C♯

V

C♯maj
D𝄪

#VI

F#7no5/D𝄪
E♯

vii

E♯m

Same notes, different mode

F# lydian #6 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.

G# mixolydian augmentedA# romani minorB# locrian dominantC# ionian major #2E ultralocrianE# neapolitan minor

lydian #6 in all 12 keys, with chords and related scales

tip
  • Both raised tones (#IV (C) and #6 (E)) resolve upward; write lines that climb, and this scale rewards them with brightness past lydian.
  • Over maj7#11 harmony, use the augmented 2nd from V to #6 (E) as a striking ornament before landing on VII.
  • It is the second mode of neapolitan minor: same notes as the neapolitan minor a whole step below F#.
  • Treat it as a special effect: a bar of F# lydian #6 (E) inside plain lydian material glows without needing a chord change.

How to play F♯ lydian #6 on guitar

Both E strings hold the raised sixth open, so one degree of the scale is free even though the root is not. Roots start on low E fret 2, with a repeat at A string fret 9, which means the whole shape sits near the nut. G#aug is the II chord. Seven sharps in the signature push players toward shapes, so read this as a fingering. Shape one stops at fret 6.

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