MadMattUK
10-30-2004, 06:44 PM
Dominant Phrygian a.k.a Spanish Gypsy Scale
Hello folks, in this lesson we will be studying the 5th mode of the harmonic minor scale known as the Dominant Phrygian mode also commonly called the Spanish Gypsy scale.
This mode has a very distinctive sound which can be found throughout the music world. Depending on how the mode is utilised (eg phrasing, rhythm, chord choice) a range of feels and moods can be created, including Middle Eastern, classical, neo classical and Spanish flamenco sounds. In this lesson I will try to cover all of the popular uses.
For those of you who like heavy metal this is very much the mode adopted by Yngwie Malmsteen and many other shredders out there. One mainstream song to check out which will give you the feel of this mode is Where Ever I May Roam from Metallica’s self titled album. Check out Kirk Hammett’s solo and this will give you an idea of how this mode has been incorporated into heavy metal.
Before we delve into some of the theory involved with this mode lets look at a short video clip incorporating both Middle Eastern and traditional classical elements. Hopefully this will give you a feel for the sort of sound this mode can conjure.
VIDEO: Dominant Phrygian Example (https://filebox.vt.edu/users/lau02141/Lessons/1.Phyrgian%20Example.wmv)
Now for a bit of theory! As stated earlier this mode is constructed from the 5th degree of the harmonic minor scale. An easier way to think about it though is to take the standard Phrygian mode (constructed from the third degree of the major scale) and sharpen the 3rd note.
The standard intervals for the Phrygian mode are:
1,b2,b3,4,5,b6,b7
When sharpening the third, we obtain the Dominant Phrygian:
1,b2,3,4,5,b6,b7
For example the E Phrygian mode contains the notes:
E,F,G,A,B,C,D
When sharpening the third, we have the notes:
E,F,G#,A,B,C,D
Essentially we have exchanged the minor third of the original Phrygian for a major third. The final product, the Dominant Phrygian, now has both major and minor qualities.
Fretboard Patterns
This is what the E Dominant Phrygian mode looks like when mapped out on the fretboard:
|--F--|-----|-----|--G#-|--A--|-----|--B--|--C--|-----|--D--|-----|--E--
|--C--|-----|--D--|-----|--E--|--F--|-----|-----|--G#-|--A--|-----|--B--
|--G#-|--A--|-----|--B--|--C--|-----|--D--|-----|--E--|--F--|-----|-----
|-----|--E--|--F--|-----|-----|--G#-|--A--|-----|--B--|--C--|-----|--D--
|-----|--B--|--C--|-----|--D--|-----|--E--|--F--|-----|-----|--G#-|--A--
|--F--|-----|-----|--G#-|--A--|-----|--B--|--C--|-----|--D--|-----|--E--
| |
1st fret 12th fret
One particular pattern you may want to learn first in order to familiarise yourself with the mode is the following:
|--1--|--2--|-----|-----|--4--|-----|-----| -1st string
|--1--|--2--|-----|--4--|-----|-----|-----|
|-----|--2--|--3--|-----|-----|-----|-----|
|--1--|-----|--3--|--4--|-----|-----|-----|
|--1--|-----|--3--|--4--|-----|-----|-----|
|--1--|--2--|-----|-----|--4--|-----|-----| -6th string
| |
12th fret 15th fret
Here is the same pattern with the note names:
|--E--|--F--|-----|-----|--G#-|-----|-----| -1st string
|--B--|--C--|-----|--D--|-----|-----|-----|
|-----|--G#-|--A--|-----|-----|-----|-----|
|--D--|-----|--E--|--F--|-----|-----|-----|
|--A--|-----|--B--|--C--|-----|-----|-----|
|--E--|--F--|-----|-----|--G#-|-----|-----| -6th string
| |
12th fret 15th fret
Now that we are familiar with the mechanics behind the mode lets look at how we can utilise it in music!! :D
E Dominant Phrygian Lick
Here is a lick which uses the same E Phrygian Dominant fretboard pattern highlighted above.
E:-12-13-16-13h16p13p12-----12-----------------------------------------
B:---------------------15-----15-13-12h13p12----12----------------------
G:-------------------------------------------14----14--13—14b16r14-----
D:------------------------------------------------------------------------
A:-----------------------------------------------------------------------
E:---------------------------------------------------------------------
VIDEO: E Dominant Phrygian Lick (https://filebox.vt.edu/users/lau02141/Lessons/2.E%20Lick.wmv)
A Major Arpeggio Lick
Earlier it was stated that the Dominant Phrygian mode possesses both minor and major qualities. If you build a triad from the first degree of the scale (by taking the 1st, 3rd and 5th note from the scale starting from the root position) you form a major chord.
This is different from the original Phrygian mode where the triad built from the first degree is a minor chord. For example an A Minor chord is formed from the A Phrygian mode but an A Major chord is formed from the A Dominant Phrygian mode.
Here is a sweep picked lick based on an A Major arpeggio and adding a few extra notes from the Dominant Phrygian mode to spice it up.
E:------------------9-10-12-10h12p10p9----9-----------
B:---------------10--------------------11---11--10----
G:-------------9--------------------------------------
D:--------7h11---------------------------------------
A:------7-------------------------------------------
E:--5h9---------------------------------------------
VIDEO: A Major Arpeggio Lick (https://filebox.vt.edu/users/lau02141/Lessons/3.A%20Major%20Arpeggio.wmv)
A Dominant Phrygian Chord Progression
Here is an arpeggio based Dominant Phrygian chord progression using the chords A Major, Bb Major and G minor followed by a descending lick.
E:------------------9-12p9---------------------------10-----
B:---------------10--------10---------------------11--------
G:-------------9--------------9----------------10-----------
D:--------7h11------------------11--------12----------------
A:------7--------------------------12s13--------------------
E:--5h9-----------------------------------------------------
E:--13p10----------------------6-10p6---------------------9-
B:--------11-----------------8--------8----------------10--
G:-----------10------------7------------7------------9-----
D:--------------12-------8----------------8-------11---------
A:-----------------13s10--------------------10s12-------------
E:---------------------------------------------------------
E:--10-12-10h12p10p9----9-------------------------------------
B:-------------------11---11-10-11s14-11-10h11p10----10-------
G:------------------------------------------------12-----12---
D:------------------------------------------------------------
A:------------------------------------------------------------
E:------------------------------------------------------------
E:------------------------------------------------------------
B:-------------------------------------------------------------
G:--10h12p10—9h10p9----9--------------------------------------
D:------------------12---12-11-12s14-12-11h12p11----11--------
A:-----------------------------------------------13----13-12--
E:------------------------------------------------------------
VIDEO: Sweeped Chord Progression (https://filebox.vt.edu/users/lau02141/Lessons/4.%20A%20Chord%20Prog..wmv)
Hello folks, in this lesson we will be studying the 5th mode of the harmonic minor scale known as the Dominant Phrygian mode also commonly called the Spanish Gypsy scale.
This mode has a very distinctive sound which can be found throughout the music world. Depending on how the mode is utilised (eg phrasing, rhythm, chord choice) a range of feels and moods can be created, including Middle Eastern, classical, neo classical and Spanish flamenco sounds. In this lesson I will try to cover all of the popular uses.
For those of you who like heavy metal this is very much the mode adopted by Yngwie Malmsteen and many other shredders out there. One mainstream song to check out which will give you the feel of this mode is Where Ever I May Roam from Metallica’s self titled album. Check out Kirk Hammett’s solo and this will give you an idea of how this mode has been incorporated into heavy metal.
Before we delve into some of the theory involved with this mode lets look at a short video clip incorporating both Middle Eastern and traditional classical elements. Hopefully this will give you a feel for the sort of sound this mode can conjure.
VIDEO: Dominant Phrygian Example (https://filebox.vt.edu/users/lau02141/Lessons/1.Phyrgian%20Example.wmv)
Now for a bit of theory! As stated earlier this mode is constructed from the 5th degree of the harmonic minor scale. An easier way to think about it though is to take the standard Phrygian mode (constructed from the third degree of the major scale) and sharpen the 3rd note.
The standard intervals for the Phrygian mode are:
1,b2,b3,4,5,b6,b7
When sharpening the third, we obtain the Dominant Phrygian:
1,b2,3,4,5,b6,b7
For example the E Phrygian mode contains the notes:
E,F,G,A,B,C,D
When sharpening the third, we have the notes:
E,F,G#,A,B,C,D
Essentially we have exchanged the minor third of the original Phrygian for a major third. The final product, the Dominant Phrygian, now has both major and minor qualities.
Fretboard Patterns
This is what the E Dominant Phrygian mode looks like when mapped out on the fretboard:
|--F--|-----|-----|--G#-|--A--|-----|--B--|--C--|-----|--D--|-----|--E--
|--C--|-----|--D--|-----|--E--|--F--|-----|-----|--G#-|--A--|-----|--B--
|--G#-|--A--|-----|--B--|--C--|-----|--D--|-----|--E--|--F--|-----|-----
|-----|--E--|--F--|-----|-----|--G#-|--A--|-----|--B--|--C--|-----|--D--
|-----|--B--|--C--|-----|--D--|-----|--E--|--F--|-----|-----|--G#-|--A--
|--F--|-----|-----|--G#-|--A--|-----|--B--|--C--|-----|--D--|-----|--E--
| |
1st fret 12th fret
One particular pattern you may want to learn first in order to familiarise yourself with the mode is the following:
|--1--|--2--|-----|-----|--4--|-----|-----| -1st string
|--1--|--2--|-----|--4--|-----|-----|-----|
|-----|--2--|--3--|-----|-----|-----|-----|
|--1--|-----|--3--|--4--|-----|-----|-----|
|--1--|-----|--3--|--4--|-----|-----|-----|
|--1--|--2--|-----|-----|--4--|-----|-----| -6th string
| |
12th fret 15th fret
Here is the same pattern with the note names:
|--E--|--F--|-----|-----|--G#-|-----|-----| -1st string
|--B--|--C--|-----|--D--|-----|-----|-----|
|-----|--G#-|--A--|-----|-----|-----|-----|
|--D--|-----|--E--|--F--|-----|-----|-----|
|--A--|-----|--B--|--C--|-----|-----|-----|
|--E--|--F--|-----|-----|--G#-|-----|-----| -6th string
| |
12th fret 15th fret
Now that we are familiar with the mechanics behind the mode lets look at how we can utilise it in music!! :D
E Dominant Phrygian Lick
Here is a lick which uses the same E Phrygian Dominant fretboard pattern highlighted above.
E:-12-13-16-13h16p13p12-----12-----------------------------------------
B:---------------------15-----15-13-12h13p12----12----------------------
G:-------------------------------------------14----14--13—14b16r14-----
D:------------------------------------------------------------------------
A:-----------------------------------------------------------------------
E:---------------------------------------------------------------------
VIDEO: E Dominant Phrygian Lick (https://filebox.vt.edu/users/lau02141/Lessons/2.E%20Lick.wmv)
A Major Arpeggio Lick
Earlier it was stated that the Dominant Phrygian mode possesses both minor and major qualities. If you build a triad from the first degree of the scale (by taking the 1st, 3rd and 5th note from the scale starting from the root position) you form a major chord.
This is different from the original Phrygian mode where the triad built from the first degree is a minor chord. For example an A Minor chord is formed from the A Phrygian mode but an A Major chord is formed from the A Dominant Phrygian mode.
Here is a sweep picked lick based on an A Major arpeggio and adding a few extra notes from the Dominant Phrygian mode to spice it up.
E:------------------9-10-12-10h12p10p9----9-----------
B:---------------10--------------------11---11--10----
G:-------------9--------------------------------------
D:--------7h11---------------------------------------
A:------7-------------------------------------------
E:--5h9---------------------------------------------
VIDEO: A Major Arpeggio Lick (https://filebox.vt.edu/users/lau02141/Lessons/3.A%20Major%20Arpeggio.wmv)
A Dominant Phrygian Chord Progression
Here is an arpeggio based Dominant Phrygian chord progression using the chords A Major, Bb Major and G minor followed by a descending lick.
E:------------------9-12p9---------------------------10-----
B:---------------10--------10---------------------11--------
G:-------------9--------------9----------------10-----------
D:--------7h11------------------11--------12----------------
A:------7--------------------------12s13--------------------
E:--5h9-----------------------------------------------------
E:--13p10----------------------6-10p6---------------------9-
B:--------11-----------------8--------8----------------10--
G:-----------10------------7------------7------------9-----
D:--------------12-------8----------------8-------11---------
A:-----------------13s10--------------------10s12-------------
E:---------------------------------------------------------
E:--10-12-10h12p10p9----9-------------------------------------
B:-------------------11---11-10-11s14-11-10h11p10----10-------
G:------------------------------------------------12-----12---
D:------------------------------------------------------------
A:------------------------------------------------------------
E:------------------------------------------------------------
E:------------------------------------------------------------
B:-------------------------------------------------------------
G:--10h12p10—9h10p9----9--------------------------------------
D:------------------12---12-11-12s14-12-11h12p11----11--------
A:-----------------------------------------------13----13-12--
E:------------------------------------------------------------
VIDEO: Sweeped Chord Progression (https://filebox.vt.edu/users/lau02141/Lessons/4.%20A%20Chord%20Prog..wmv)