In this guitar lesson, we will explore the differences between five different Phrygian modes taken from the major, harmonic minor, melodic minor, harmonic major and double harmonic major scales.

The Phrygian Modes

Understanding The Phrygian Mode

The Phrygian mode is a musical scale derived from the major scale (built on the third degree), characterized by a lowered second scale degree. It has a distinct and exotic sound, often associated with Spanish music and used to create tension.

The Phrygian mode is built with tonic (1), minor second (b2), minor third (b3), perfect fourth (4), perfect fifth (5), minor sixth (b6) and minor seventh (b7). The interval pattern is : H – W – W – W – H – W – W –

“H” represents a half step (or semitone) and “W” represents a whole step (or whole tone).

For example, let’s consider the key of E Phrygian. The E Phrygian mode is the third mode of C major, it consists of the following notes: E, F, G, A, B, C, D.

Phrygian Mode Variations

Here are four variations of the Phrygian mode discussed above, each with its distinct tonal qualities. Let’s explore them one by one:

1 – Phrygian Dominant

The Phrygian dominant mode is the fifth mode of the Harmonic Minor Scale, it is created by raising the third scale degree of the Phrygian mode. This alteration results in a major third interval between the first and third scale degrees, distinguishing it from the Phrygian mode’s minor third. The rest of the intervals in the scale remain the same as the Phrygian mode.

The formula for the Phrygian dominant mode can be expressed as follows : Tonic (1) – minor 2nd (b2) – Major 3rd (3) – Perfect 4th (4) – Perfect 5th (5) – minor 6th (b6) – minor 7th (b7).

This scale is typically used over a dominant seventh chord with a flattened ninth and / or a flattened thirteenth (7b9, 7b13, 7b9b13).

2 – Phrygian #6

The Phrygian #6 mode is better known as Dorian b2, the second mode of the Melodic Minor Scale. It alters the Phrygian mode by raising the sixth scale degree by a half step.

For example, the E Phrygian #6 mode have the following notes: E, F, G, A, B, C#, D, E. The formula is : Tonic (1) – minor 2nd (b2) – minor 3rd (b3) – perfect 4th (4) – perfect 5th (5) – major 6th (6) – minor 7th (b7)

3 – Phrygian b4

The Phrygian b4 mode is the third mode of the harmonic major scale. (Notice that the harmonic major scale is a musical scale that is similar to the major scale but with a lowered sixth degree).

The formula for the Phrygian b4 is : tonic (1) – minor 2nd (b2) – minor 3rd (b3) – flat 4th (b4) – perfect 5th (5) – minor 6th (b6) – minor 7th (b7). As you see in the chart below, the E phrygian flat four mode is composed of : E, F, G, Ab, B, C, D.

When looking to create a sense of tension over dominant chords, the Phrygian b4 mode can be a valuable choice. This mode incorporates three altered tones that contribute to its unique character: the flattened ninth (b9), the sharp ninth (#9), and the flattened thirteenth (b13).

4 – Ultraphrygian

The Ultraphrygian mode is derived from the double harmonic major scale by starting on the third degree of the scale. It is built of : 1 (tonic) – b2 (minor second) – b3 (minor third) – b4 (flat fourth) – 5 (perfect fifth) – b6 (minor sixth) and diminished seventh (bb7). It can also be considered as the seventh mode of the Hungarian Minor Scale.

The notes composing the E Ultraphrygian mode are E, F, G, Ab, B, C, Db. It is actually, the Phrygian b4 mode but with a diminished 7 (bb7).

Conclusion

You’ve now learned about the differences between the Phrygian modes. Remember to explore each mode individually, experiment with melodies, chords, and improvisation to unlock their full potential.