STRINGSCALES

F♯ mixolydian Scale — Guitar Fretboard Visualization

Low E string: E, F#, G#, A#, B, C#, D#, E at frets 0, 2, 4, 6, 7, 9, 11, 12

A string: A#, B, C#, D#, E, F#, G# at frets 1, 2, 4, 6, 7, 9, 11

D string: D#, E, F#, G#, A#, B, C# at frets 1, 2, 4, 6, 8, 9, 11

G string: G#, A#, B, C#, D#, E, F# at frets 1, 3, 4, 6, 8, 9, 11

B string: B, C#, D#, E, F#, G#, A#, B at frets 0, 2, 4, 5, 7, 9, 11, 12

High E string: E, F#, G#, A#, B, C#, D#, E at frets 0, 2, 4, 6, 7, 9, 11, 12

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F# mixolydian

The mixolydian mode is a major scale with a flat 7th, the mode of the fifth degree. It is the sound of the dominant 7th chord stretched into a scale, which makes it the working scale of blues rock, country twang and jam band vamps. Anywhere a song sits on a 7th chord without resolving, mixolydian is home base.

it consists of these notes and degrees:

F♯

I

F♯maj
G♯

ii

G♯m
A♯

iii°

A♯dim
B

IV

Bmaj
C♯

v

C♯m
D♯

vi

D♯m
E

bVII

Emaj

Characteristic note: E (b7), the flat seventh that makes mixolydian the go-to scale over dominant chords.

Same notes, different mode

F# mixolydian 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# minor · relative minorA# locrianB major · relative majorC# dorianD# phrygianE lydian

mixolydian in all 12 keys, with chords and related scales

tip
  • Aim at the flat 7th (E) over a dominant chord: it is the note that makes F#7 sound at rest instead of leading anywhere.
  • Bluesify it: bend the 3rd (A#), add the flat 3rd as a passing note, and F# mixolydian becomes roots rock vocabulary immediately.
  • Vamp I to bVII (E) major chords (both in the scale) for the classic rock and jam-band mixolydian groove in F#.
  • Over a static 7th chord, alternate mixolydian runs with the F# major pentatonic to lighten the dominant color.

How to play F♯ mixolydian on guitar

Three open strings belong to the scale: both E strings as the minor seventh and open B as the fourth. Neither interval is the root or fifth, so open strings colour a line here instead of anchoring it. Lowest root is fret 2 on the low E, which puts the end of box one at fret 6. Capo at fret 2 gives E fingering, so the sharp-heavy signature stops mattering. Chord IV is BM.

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