STRINGSCALES

F♯ mixolydian b6 Scale — Guitar Fretboard Visualization

Low E string: E, F#, G#, A#, B, C#, D, E at frets 0, 2, 4, 6, 7, 9, 10, 12

A string: A#, B, C#, D, E, F#, G# at frets 1, 2, 4, 5, 7, 9, 11

D string: D, E, F#, G#, A#, B, C#, D at frets 0, 2, 4, 6, 8, 9, 11, 12

G string: G#, A#, B, C#, D, E, F# at frets 1, 3, 4, 6, 7, 9, 11

B string: B, C#, D, E, F#, G#, A#, B at frets 0, 2, 3, 5, 7, 9, 11, 12

High E string: E, F#, G#, A#, B, C#, D, E at frets 0, 2, 4, 6, 7, 9, 10, 12

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F# mixolydian b6

The mixolydian b6 scale, the fifth mode of the melodic minor scale, is a dominant scale whose top half turns minor: natural 3rd, flat 6th, flat 7th. The b6 gives the plain mixolydian sound a bittersweet, almost cinematic shading. It is the natural choice over a V7 resolving to a minor chord, spelling the coming darkness in advance.

it consists of these notes and degrees:

F♯

I

F♯maj
G♯

ii°

G♯dim
A♯

iii°

A♯dim
B

iv

Bm
C♯

v

C♯m
D

bVI+

Daug
E

bVII

Emaj

Characteristic notes: D (b6) and E (b7), a dominant sound with a darkened sixth, halfway to minor.

Same notes, different mode

F# mixolydian b6 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# locrian #2A# alteredB melodic minorC# dorian b2D lydian augmentedE lydian dominant

mixolydian b6 in all 12 keys, with chords and related scales

tip
  • Use F# mixolydian b6 (D) over a V7 resolving to a minor chord: the flat 6th (D) previews the minor destination inside the dominant bar.
  • It is the fifth mode of melodic minor; over a static dominant vamp, alternate it with plain mixolydian and let the 6th tell the story.
  • Lean on b6 (D) falling to V, the scale's built-in sigh, especially over the chord's own 5th in the bass.
  • Try it over the IV7 chord in a minor blues in the key a 4th below F#; the borrowed darkness fits perfectly.

How to play F♯ mixolydian b6 on guitar

Four open strings belong here, yet none is the root or the fifth, so treat the open B at the fourth as colour rather than a pedal. A capo on fret 2 rewrites everything as E fingerings, which lets four sharps drop off the page. Roots start at fret 2 on the low E. Daug takes the bVI+ and Bm the iv, meaning both of those shapes sit inside the key already.

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