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F♯ mixolydian augmented Scale — Guitar Fretboard Visualization

Low E string: E, F#, G#, A#, B, C##, D#, E at frets 0, 2, 4, 6, 7, 10, 11, 12

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

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

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

B string: B, C##, D#, E, F#, G#, A#, B at frets 0, 3, 4, 5, 7, 9, 11, 12

High E string: E, F#, G#, A#, B, C##, D#, E at frets 0, 2, 4, 6, 7, 10, 11, 12

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F# 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:

F♯

I+

F♯aug
G♯

ii

G♯m
A♯

III

A#maj♭5
B

IV

Bmaj
C𝄪

#V

E7no5/C𝄪
D♯

vi

D♯m
E

bVII

Emaj

Same notes, different mode

F# 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.

G# romani minorA# locrian dominantB ionian major #2D ultralocrianD# neapolitan minorE lydian #6

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

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

Lowest root sits at fret 2 on the low E string, so the whole first box lives at the bottom of the neck. Four open strings show up here, though the root is not one of them, which means the ringing ones are all colour tones. Notation runs to five sharps. Capo at fret 2 makes E shapes do the job, letting you trade that notation for open-string fingerings. vi is D#m and ii is G#m, so two plain minor chords sit inside the key.

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