Leading Whole Tone Mode on Guitar: Notes, Chords & Examples

  • May 21, 2026

The Leading Whole Tone mode is a bright, unstable, futuristic-sounding scale with a strong augmented flavor. It has the floating quality of the whole tone scale, but with one extra note that creates a powerful pull back to the root: the major 7th.

For guitarists, this mode can sound mysterious, cinematic, progressive, and fusion-heavy. It is not a common “campfire song” mode. It works best when you want something more colorful than Lydian, more exotic than the whole tone scale, and more harmonically intense than standard major modes.

Think:

  • Floating augmented chords
  • Sci-fi fusion harmony
  • Dreamy but tense major sounds
  • Progressive rock/metal atmosphere
  • Modern jazz/fusion soloing colors

The C Leading Whole Tone mode is especially useful over maj7#5 and maj7#5#11 sounds.

How does it sound?

Before anything else, let’s hear how it sounds. This can best be done by playing a chord from the mode, and playing the notes of the mode arpeggiated on top of it. This is the best and quickest way to determine the feel of a mode.

This can be quickly done using SLModes, a software dedicated to the music modes, and the following sound was generated by it:

What Is Leading Whole Tone?

The Leading Whole Tone is a seven-note synthetic mode related to the Neapolitan Major scale system.

Its name gives you a clue:

  • Whole Tone: most of the scale moves in whole steps.
  • Leading: it includes a major 7th, which strongly leads back to the root.

Compared to the standard C whole tone scale:

C D E F# G# A#

C Leading Whole Tone adds the note B:

C D E F# G# A# B

That B gives the mode a sharper sense of resolution back to C. Without it, the whole tone scale can feel completely rootless and symmetrical. With it, the mode still floats, but it has a more defined tonal center.

Formula

The interval formula for C Leading Whole Tone is:

1 2 3 #4 #5 #6 7

In interval names:

Root, major 2nd, major 3rd, augmented 4th, augmented 5th, augmented 6th, major 7th

This is not a typical major scale because it has:

  • #4 instead of 4
  • #5 instead of 5
  • #6 instead of 6

Those raised tones are what create the mode’s bright, augmented, almost surreal color.

Notes in C

The notes of C Leading Whole Tone are:

C D E F# G# A# B

On guitar, pay special attention to these color tones:

  • F# = #4
  • G# = #5
  • A# = #6
  • B = major 7

The combination of C, E, G#, and B gives you the core chord sound: Cmaj7#5.

The Chord That Defines the Mode

The defining chord of C Leading Whole Tone is:

Cmaj7#5

Notes:

C E G# B

This chord captures the mode because it contains:

  • C = root
  • E = major 3rd
  • G# = augmented 5th
  • B = major 7th

That #5 is the key. A normal Cmaj7 chord has G natural:

C E G B

But C Leading Whole Tone does not contain G natural. It contains G#, which makes the tonic chord augmented.

For an even more complete modal sound, you can extend the chord:

Cmaj7#5#11

Notes:

C E G# B F#

The F# adds the Lydian-style #11 color, while the G# keeps the augmented quality.

You can also include the A# as a color tone:

Cmaj7#5#11(#13)

But be careful. The A# sits very close to B, so it can sound tense or dissonant if voiced too tightly.

A practical guitar-friendly approach is to vamp on Cmaj7#5 and use the full scale melodically.

Chord Progression (Example)

Because this mode is uncommon, chord progressions should usually be simple. Let the scale color do the work.

Imaj7#5 - II7#5 - Imaj7#5
Cmaj7#5 - D7#5 - Cmaj7#5

This is a great two-chord fusion vamp.

The Cmaj7#5 establishes the home sound, while D7#5 adds motion without leaving the mode. The result is bright, unstable, and modern.

Mood:

  • Floating
  • Fusion-oriented
  • Dreamy but tense

Try soloing with long sustained notes on G#, F#, and B.

Guitar Fretboard Shape

Here’s the mode mapped across the full fretboard, generated with my software SLModes.

The diagram shows every occurrence of the mode across the neck:

🟢 Green dots = the root note, your anchor points
🟠 Orange dots = the rest of the scale tones

Why Guitarists Love This Mode

Emotional Flavor

C Leading Whole Tone has a rare emotional quality. It sounds major, but not comfortable. It is bright, but not simple. The #5 and #4 create a floating augmented sound, while the major 7th gives it a sharp pull back to the root.

It can feel:

  • Futuristic
  • Elegant
  • Unstable
  • Dreamlike
  • Mysterious
  • Progressive

This makes it perfect for players who want a sound beyond standard major and minor.

Riff Potential

This mode is great for riffs built from:

  • Whole steps
  • Augmented triads
  • Tritones
  • Sliding symmetrical shapes
  • Wide interval jumps

Instead of writing normal power chord riffs, try using dyads like:

C - G#
E - A#
F# - C
B - F#

These intervals create a more modern, angular sound.

For progressive metal, try palm-muted single-note riffs using the notes:

C D E F# G# A# B

The lack of a natural 5th makes the mode feel less traditional and more alien.

Soloing Applications

C Leading Whole Tone works especially well over:

Cmaj7#5
Cmaj7#5#11
D7#5
E7
F#7b5

For soloing, target the most colorful notes:

  • E for the major quality
  • F# for the #11 sound
  • G# for the augmented 5th
  • B for the leading tone
  • A# for extra tension

A simple approach is to resolve phrases to C, E, or B, while using F# and G# as color tones.

Genres Where It Works Well

C Leading Whole Tone is especially useful in:

  • Progressive rock
  • Progressive metal
  • Jazz fusion
  • Instrumental guitar music
  • Film/game scoring
  • Modern jazz
  • Experimental songwriting
  • Ambient guitar music

It is not usually the best choice for blues, folk, punk, or traditional rock progressions unless you are intentionally going for an outside sound.

Tips for Practicing

Use a Drone

Start with a low C drone.

You can use:

  • A looper pedal
  • A synth drone
  • A sustained bass note
  • A clean open-string texture tuned around C

Then play the scale slowly:

C D E F# G# A# B C

Listen carefully to how each note feels against C.

The most important colors are:

  • F# = floating #4
  • G# = augmented tension
  • A# = sharp upper color
  • B = leading tone

Try Chord Vamps

Use simple vamps like:

Cmaj7#5 - D7#5

or:

Cmaj7#5 - F#7b5

Keep the harmony spacious. Let the mode breathe.

If you are producing at home, try layering:

  • Clean guitar arpeggios
  • Volume swells
  • Delay
  • Reverb
  • Synth pads
  • Fretless-style bass lines

This mode works beautifully in atmospheric arrangements.

Improvise With Small Motifs

Do not just run the scale up and down.

Instead, create short motifs like:

C D E
E F# G#
G# A# B C

Then sequence them across the neck.

You can also emphasize augmented triads:

C E G#
D F# A#

These shapes immediately reveal the sound of the mode.

Target Specific Intervals

When practicing, aim for the defining intervals:

  • Land on G# over Cmaj7#5.
  • Bend or slide into F# for the #11 sound.
  • Use B to resolve upward into C.
  • Treat A# as a spicy color tone, not always a resting note.

A great exercise is to improvise for one minute using only:

C E F# G# B

Then add D and A# afterward.

If you like modes, SLModes is for you

SLModes is the software for exploring everything related to music modes.

It helps you experiment with:

  • Modal chords
  • Guitar fretboard shapes
  • Chord progressions
  • Modal modulation
  • Negative harmony ideas

If you play guitar and want to access 60+ music modes, SLModes is waiting for you

Learn more about SLModes

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