The Phrygian Scale

There are two different ways to look at this scale:

1. As a scale choice for the III m chord in a tonal situation.

2. As a mode.

When we have a III m chord (for example Emin7 in C major) we use the phrygian scale. We could use
the aolian or even dorian scales as well but the phrygian scale is the one that belong to the key.
When we do that we’re not thinking of the so called phrygian sound, it’s simply the correct scale for
that chord. Let’s look at an e phrygian scale in a III minor situation:

I highlighted the two so called avoid notes: F and C. The C could actually be used in a chord voicing
but then it’s arguably a CMaj7 over E chord rather than an E minor chord.

Examples of tunes:

"Solea" by Gil Evans from Sketches of Spain

”Set the Controls for the Heart of the Sun” by Pink Floyd

Let’s move on and look at the phrygian scale as a mode. It’s a very interesting mode and it stands out
in some ways from the other modes. Most of us probably think of this mode as a kind of Spanish
flamenco type sound. You can also hear heavy metal bands use this sound sometimes; they seem to
like the dark and mysterious character of this scale.

First off, we need to build a chord that will define this mode. One of the ways in which this mode is
different from the other modes is that you don’t just stack thirds to create this chord. If we stack
thirds from the third degree of C major we get an Emin7 chord:

There is nothing phrygian sounding at all about this chord it’s just a minor chord. In order to create
that dark and exotic sound we need to find a voicing that has that flat nine interval in it. The easiest
way to do that is to take a Major7(b5) chord from the fourth degree of the parent key and throw the
third degree in the bass:

This chord could be labeled FMaj7(b5)/E, Esus(b9) or simply E(phrygian).

Now we have created a phrygian sound.

Examples of tunes:

Now that we know the phrygian mode lets look at some other phrygian sounding scales. Even though
the abovementioned scale is the actual phrygian scale there are other scales that has similar
charateristics, mainly that flat nine interval which seems to create that tension that makes it stand
out. The first option that come sto mind is the so called phrygian dominant scale:

This is the fourth mode of harmonic minor. This scale could also be used over the sus(b9) chord since
that voicing has no third in it and it creates an even more exotic sound.

Now let us look at something called the Spanish phrygian scale. In the (in)famous Real Book there is a
great tune by Chick Corea called La Fiesta. This tune is based around a phrygian flamenco type
sounding vamp.

In the book they have written out a scale as a suggestion and the name they give it is the Spanish
phrygian scale.
This is why I bring up this scale; I don’t know how accepted this scale is in the academic Jazz world.
But it’s in the Real Book so hey…

It is worth mentioning that is is actually a C major bop scale starting on the third degree. This helps us
guitar players find fingerings. We should also consider the possibilty to empesisze the G# when
ascending and the G natural when playing descending.

You could also leave out the A from that scale and you will have the third degree of harmonic major
(see my lesson on harmonic major):

I should mention that these scales (the ones with a major third in them) could also be used as
dominant scales. This is something that I have also talked about in previous lessons. There is a
difference when we treat these scales as a dominant sound that wants to resolve to its tonic as
opposed to a modal situation. Sometimes it’s not clear, like for the example the tune Caravan where
the dominant chord is static and all of a sudden resolved to its minor tonic. You could arguably feel
both chords in that A section as a tonic. Caravan is an excellent tune if we want to experiment with
these scale choices.

Now let us look at some more unusual Phrygian sounds. If we create a scale from the second degree
of melodic minor we get something that is often referred to as the Phrygian natural 6 scale.

If we want to create a voicing that defines this sound we simply exchange that beforementioned
Maj7(b5) chord with a Maj7(#5) voicing:

I suppose this chord could be called FMaj7(#5)/E or E13sus(b9).

Even though knowing the modes of the melodic minor scale is more or less mandatory for the
contemporary Jazz musician this scale doesn’t seem to be as often used as the other modes of
melodic minor. A reason for this could be that the thirteen extension gives the chord a brighter
sound and therefore takes away a bit of the darkness of the regular Phrygian chord. And the whole
point we use the Phrygian mode in the first place is to create a dark and mysterious sound. But this is
just my theory and not based on any scientific research. Nevertheless, we can replace the Phrygian
scale with this scale if we want to create a more hip, modern sound. It is the jazz improviser’s
prerogative to mix and match scales and sounds to create his or her own personal style.

Lastly let us look at an even more unusual scale with a Phrygian character: The Lydian b9 scale.

This scale is definitely more unusual and I have only stumbled upon it twice. I remember having an
old transcription of one of Bill Evans solos over Nardis (which he recorded several times) and here he
playes a very interesting voicing for the Emaj7 chord. Miles Davis seems to want a Emaj7 chard at the
end af the A section but at the same time there is an F in the melody. The whole composition seem
to suggest a Phrygian sound. I can’t get inside Bill Evans head or claim to know why he chose this
unusual scale but it is possible that he decided that in order to create a chord that is a Emaj7 and has
a flat 9 in it he did this: he plays a Bmaj7(b5) over an E bass note:

It would be difficult to come up with a simple name for this chord but I guess we could call it an
Emaj7(#11)(b9)no 3rd! Try it on your next gig! I wish I still had that transcription but I have lost it.

The only other time I have heard this scale mentioned is by guitarist Ben Monder who apparently
uses this scale and voicings from it. Maybe some of you know more about this than I do?

Happy Practicing!

Mikko Hildén

Sunday, April 22, 2018