The Phrygian Dominant Mode - The Scale of Flamenco

The Phrygian Dominant Mode - The Scale of Flamenco

The Phrygian dominant mode is one of the most fascinating and expressive scales in music. Also known as the Andalusian scale or the fifth mode of the harmonic minor scale, this mode is fundamental in flamenco and Arabic music.

What is the Phrygian Dominant Mode?

The Phrygian dominant mode is built starting from the fifth degree of the harmonic minor scale. Its most distinctive feature is the combination of:

• A half step between the first and second degrees (like the Phrygian mode)
• A major third (like the major scale)
• A minor seventh

For example, in E Phrygian dominant, the notes would be:

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

Relationship with the Harmonic Minor Scale

The Phrygian dominant mode is closely related to the harmonic minor scale. In fact, it is its fifth mode. To understand it better:

The A harmonic minor scale:

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

Starting from E (the fifth degree), we get the Phrygian dominant mode:

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

This relationship explains why the Phrygian dominant mode:

• Has a major third (G#)
• Maintains the characteristic tension of the harmonic minor scale
• Shares the same collection of notes with its parent scale

Sonic Characteristics

What makes the Phrygian dominant mode unique is:

1. The immediate tension created by the half step between the first and second degrees
2. The augmented second interval between the second and third degrees
3. Its exotic and Eastern sound

Practical Applications

In Flamenco

• Harmonic foundation for styles like bulería and soleá
• Creation of Andalusian cadences
• Improvisation over flamenco progressions

In Other Genres

• Progressive metal
• Jazz fusion
• Mediterranean and Arabic music

Common Progressions

The most characteristic progressions in the Phrygian dominant mode are:

1. i - ♭II - i
2. i - ♭II - ♭vii - i
3. i - iv - ♭III - ♭II

Tips for Usage

1. Emphasize the half step between the first and second degrees
2. Use the major third as a tension note
3. Experiment with arpeggios that include the minor seventh
4. Combine with flamenco pentatonic scales

Examples in Popular Music

Flamenco and Spanish Music

”Entre Dos Aguas” - Paco de Lucía

• Key: E Phrygian dominant
• Main progression: Em - F - Em (i - ♭II - i)
• Characteristic use of the Em7 arpeggio with the major third (G#)
• The melody emphasizes the augmented second interval (F to G#)

“Volare” - Gipsy Kings

• Key: A minor Phrygian dominant
• Progression: Am - B♭ - Am (i - ♭II - i)
• Use of the Andalusian cadence in the verses
• The melody utilizes the major third (C#) as a tension note

”Mediterranean Sundance” - Al Di Meola

• Key: E minor Phrygian dominant
• Progression: Em7 - F - G - F (i7 - ♭II - ♭III - ♭II)
• Combination of Phrygian dominant and harmonic minor scales
• Rapid arpeggios that highlight the major third

Rock and Metal

”Misirlou” - Dick Dale

• Key: E minor Phrygian dominant
• Main riff based on the Phrygian dominant scale
• Use of tremolo picking over the notes E - F - G# - A
• The progression Em - F - Em emphasizes the characteristic half step

”Symphony of Destruction” - Megadeth

• Key: E minor Phrygian dominant
• Main riff: Em - F - Em with emphasis on G#
• Use of power chords with the added major third
• Solos that exploit the augmented second interval

”Wherever I May Roam” - Metallica

• Key: E minor Phrygian dominant
• Intro with sitar emphasizing the Eastern sound
• Main riff based on the Phrygian dominant scale
• Progression: Em - F - G - F with chromatic variations

Arabic Music and Fusion

”Desert Rose” - Sting ft. Cheb Mami

• Key: D minor Phrygian dominant
• Mix of Western progressions with Arabic maqam
• Use of the scale in Arabic vocal melodies
• Emphasis on the interval F# - E♭ (major third to minor second)

“Ya Rayah” - Rachid Taha

• Key: B minor Phrygian dominant
• Traditional use of the maqam hijaz
• Vocal melody exploiting characteristic intervals
• Progression: Bm - C - Bm with modal ornamentations

Jazz Fusion

”Spain” - Chick Corea

• Key: E minor Phrygian dominant in sections
• Use of extended chords over the scale
• Improvisations combining Phrygian dominant with bebop
• Complex modal progressions including ii-V-i in Phrygian

Conclusion

The Phrygian dominant mode is a powerful tool for adding color and exoticism to your compositions. Its versatility makes it ideal for both traditional music and contemporary fusions.

Practical Exercises

1. Practice the scale ascending and descending
2. Create melodies using only the notes of the scale
3. Experiment with chord progressions based on the mode
4. Try improvising over a Phrygian dominant harmonic base
5. Compare the sound with the original harmonic minor scale
6. Practice transitions between both scales to understand their relationship

Remember, the best way to internalize this mode is to listen to plenty of flamenco and Arabic music, where this sound is fundamental. Consistent practice and exposure to different genres that utilize this scale will help you naturally incorporate it into your musical vocabulary.