The Phrygian mode
E Phrygian: E F G A B C D (1 b2 b3 4 5 b6 b7). It is a minor scale with a minor second: the characteristic note is the b2 (F over E), which creates a semitone above the tonic: the sound is dark, tense, “Spanish” or “Eastern.”
Phrygian dominant
Raising the third gives the Phrygian dominant (5th mode of A harmonic minor): E F G# A B C D (1 b2 3 4 5 b6 b7). The augmented second F – G# gives the flamenco, klezmer, Middle Eastern, and “neoclassical metal” color.
Main chords (tonic E)
| Chord | Mode | Degree | Role |
|---|---|---|---|
| Em / E | Phrygian / Phrygian dominant | i / I | tonic |
| F, Fmaj7 | both | bII | characteristic chord |
| G | Phrygian | bIII | |
| Am | both | iv | |
| Dm | Phrygian | bvii | |
| C | both | bVI | |
| B° / Bm7b5 | v° | avoid as a dominant |
The typical cadence is bII – I (F → E): the “Phrygian cadence” (also iv6 – V in minor, in the classical tradition).
Flamenco
- The Andalusian cadence Am – G – F – E is read as iv – bIII – bII – I in E Phrygian (dominant): it arrives on E major.
- The “mode of E” is the center of flamenco guitar por arriba; por medio (tonic A, with Bb) is the transposition.
- E chords in flamenco often have added notes with open strings (E – F – G in the voicings): the cluster with the b2 is part of the sound.
- Misirlou (Dick Dale’s surf version, 1962) is based on E Phrygian dominant: E F G# A B C D.
Metal
- Riffs lean on the lowest open string (E, D in drop D, C, B…) and use the b2 as a note of tension: E – F (semitone) is the quintessential Phrygian gesture of thrash and death metal.
- Power chords a semitone apart: E5 – F5 – E5.
- Phrygian dominant in neoclassical metal (Yngwie Malmsteen) and in folk/oriental metal: E major arpeggios with F.
- Other “heavy” notes: b5 (Bb over E, the tritone) and b6 (C).
Phrygian in pop and rock
- Jefferson Airplane, White Rabbit (1967): the alternation F# – G (I – bII) in a bolero rhythm.
- Many trailers and action soundtracks use i – bII ostinatos (Em – F) in the low strings.
Arranging techniques
- Tonic pedal (bass or open string) with bII and bIII chords above: bII/I (F/E) is the densest Phrygian sound.
- Melodies that revolve around the tonic with the b2 as an upper “neighbor note”: E – F – E.
- In Phrygian dominant, use the G# as a long note on the I and the F as an appoggiatura.
Common mistakes
- Putting a B7 (V7) under the melody: it introduces F# and D#, erasing the Phrygian.
- Confusing Phrygian and Aeolian: without the b2 heard often, the ear returns to natural minor.
Producer exercise
- Metal: guitar in drop D (D2 = 73.4 Hz), sixteenth-note riff on the open string with D – Eb – D and an Eb5 power chord on the fourth beat, 160 BPM.
- Flamenco/cinematic: palmas in 12 beats (or plain 4/4), nylon guitar with Am – G – F – E and a melody in E Phrygian dominant over the last chord.
- Compare the two worlds: same b2, two cultures.
Related topics
Andalusian cadence, harmony in metal, harmony in minor keys, the modes of the major scale, harmony for film.