The Phrygian dominant scale is an important mode of the harmonic minor scale, and it’s one you should know if you want to improvise over altered dominant chords.
We’ll go over everything you need to know about the Phrygian dominant scale, including:
- Important music theory you need to know to understand the modes of the harmonic minor scale
- How to construct the Phrygian dominant scale in all 12 keys
- What altered dominant chords the Phrygian dominant scale works over
By the end of this article, you’ll be ready to tackle minor ii-Vs and handle altered dominant chords like a pro!
If you want to take your jazz playing and theory skills to the next level, check out the Learn Jazz Standards Inner Circle. We’ve got everything you need to upgrade your musicianship and playing chops!
Improve in 30 days or less. Join the Inner Circle.
Table of Contents
Where Does the Phrygian Dominant Scale Come From?
To understand the Phrygian dominant scale, we must first examine its parent scale. I already mentioned that this scale was a mode of the harmonic minor scale, so let’s pick it up from there.
Comparing the Natural Minor Scale to the Harmonic Minor Scale
The harmonic minor scale is a non-diatonic minor scale. It is nearly identical to the natural minor scale but has a major seventh interval instead of a minor seventh interval. This makes harmonic minor sound the way it does, and, as you’d expect, it’s what gives the Phrygian dominant scale its sound, too.
Here is the natural minor scale with scale notes and scale formula shown:
- Note Names: A-B-C-D-E-F-G-A
- Scale Formula: W-H-W-W-H-W-W
- Intervals: 1-M2-m3-4-5-m6-m7
Let’s compare that to the harmonic minor scale. Notice the minor third interval between the sixth and seventh scale degrees squared in blue. This three-half-step gap gives this scale a unique sound.
- Note Names: A-B-C-D-E-F-G#-A
- Scale Formula: W-H-W-W-H-m3-H
- Intervals: 1-M2-m3-4-5-m6-M7
Check out this article to learn more about the differences between minor scales. Also, check this one out for more information on musical intervals.
Modes of Harmonic Minor
image source: Wikimedia Commons
I mentioned earlier that the Phrygian dominant scale was the fifth mode of the harmonic minor scale. Modes are an essential concept in music theory, so taking a moment to explain them is warranted!
The harmonic minor scale is a sequence that repeats up and down in pitch over many octaves. As a sequence of seven notes, you could technically start on any note in that sequence, and you’d eventually get back to the same note, whether an octave higher or lower.
When you play the A harmonic minor scale but start on a different note in the sequence, the scale formula changes despite the sequence remaining the same. Therefore, six other unique scales are embedded within the harmonic minor scale, and these are the modes!
Here is a way to visualize this concept. Below is a longer stretch of the scale sequence, and you can see a unique scale bolded in each row. This shows that each mode is made of the same notes.
Though all these scales are derived from the same sequence, the scale formulas for each are unique. Scale formulas are the pattern of half steps, whole steps, and minor thirds in this scale’s case!
- A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#
- A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#
- A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#
- A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#
- A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#
- A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#
- A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#
- A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#-A-B-C-D-E-F-G#
Check out this article to learn more about the harmonic minor scale on piano and guitar.
Finally… The Phrygian Dominant Scale!
We took a bit to get there, but the lead-up is essential for understanding where this scale comes from. Though we’ll eventually play through the Phrygian dominant scale in all twelve keys, we will start with E Phrygian dominant because it is derived from A harmonic minor, which we’ve already covered.
The fifth scale degree of A harmonic minor is E, and if we play through the sequence, we get the following seven-note scale.
- Note Names: E-F-G#-A-B-C-D-E
- Scale Formula: H-m3-H-W-H-W-W
- Intervals: 1-m2-M3-4-5-m6-m7
Here is this scale on piano:
Why The Name Phrygian Dominant?
This scale is called Phrygian dominant because it would be a regular Phrygian minor scale if it weren’t for the major third (G#). The Phrygian scale is the third mode of the major scale. E Phrygian is the third mode of the C major scale.
The “dominant” in Phrygian dominant indicates to musicians that this scale has a major third scale degree instead of a minor third scale degree. Dominant chords are major triads with a minor seventh interval added on top.
This E Phrygian dominant scale has all the chord tones of an E7 (dominant) chord.
This scale has other names, too. You can also call it a Mixolydian ♭9 ♭13 scale, but this is more cumbersome to say. This name is useful because it tells you precisely what dominant chord this scale works well over, but we’ll dig into that later.
The Phrygian dominant scale is older than jazz music and has many names across various world cultures. Some call it the Spanish gypsy scale, Spanish Phrygian, or the Andalusian scale because of its importance in Spanish Flamenco music.
It also has significance in Middle Eastern music. In Jewish music, it is known as Ahava Rabbah, and in Arabian music, it is known as the Maqam Hijaz. Maqam is the name for scale in Arabic.
Check out this article to learn more about major scale modes and this one to dig into Phrygian minor specifically.
BEFORE YOU CONTINUE...
If music theory has always seemed confusing to you and you wish someone would make it feel simple, our free guide will help you unlock jazz theory secrets.
The Phrygian Dominant Scale in All 12 Keys
We’ve already covered this scale in E, so let’s continue moving in the circle of fourths.
A Phrygian Dominant Scale
A Phrygian Dominant is the fifth mode of the D harmonic minor scale.
Here is this scale on the piano:
D Phrygian Dominant Scale
D Phrygian dominant is the fifth mode of G harmonic minor.
Here is this scale on piano:
G Phrygian Dominant Scale
G Phrygian dominant is the fifth mode of C harmonic minor.
Here is this scale on piano:
C Phrygian Dominant Scale
The C Phrygian dominant scale is the fifth mode of F harmonic minor.
Here is the C Phrygian dominant scale on piano:
F Phrygian Dominant Scale
The F Phrygian dominant scale is the fifth mode of Bb harmonic minor.
Here is this scale on piano:
Bb Phrygian Dominant Scale
The Bb Phrygian dominant scale is the fifth mode of Eb harmonic minor.
Here is this scale on piano:
Eb Phrygian Dominant Scale
The Eb Phrygian dominant scale is the fifth mode of Ab harmonic minor.
Here is this scale on piano:
G# Phygian Dominant Scale
The G# Phrygian dominant scale is the fifth mode of C# harmonic minor.
Here is this scale on piano:
C# Phrygian Dominant Scale
The C# Phrygian dominant scale is the fifth mode of F# harmonic minor.
Here is this scale on piano:
F# Phrygian Dominant
The F# Phrygian dominant scale is the fifth mode of B harmonic minor.
Here is this scale on piano:
B Phrygian Dominant Scale
The B Phrygian dominant scale is the fifth mode of E harmonic minor.
Here is this scale on piano:
How To Use Phrygian Dominant In Jazz Improvisation
How do you incorporate this scale into your own music and jazz solos? Earlier, we discussed another name for the Phrygian dominant scale—the Mixolydian♭9 ♭13 scale. This name indicates two things.
- This scale works over dominant chords for the reasons we mentioned above— the first, third, fifth, and seventh scale degrees form a dominant seventh chord.
- Specifically, it works over dominant chords with a b9 and b13 (or #5). These are altered extensions. Check out this article to learn more about chord extensions and alterations.
You’ll often find dominant b9 and b13 chords in minor ii-V-i chord progressions. This particular version of the ii-V-I features a half-diminished ii chord and an altered dominant chord. It usually resolves to a minor i chord but can also resolve to a major I chord.
Here is a minor ii-V chord progression that resolves major, just like in the classic jazz standard “What Is This Thing Called Love.”
Check out this article for more on the ii-V-I progression and this one to learn more about other essential jazz chord progressions.
Take Your Jazz Chops To The Next Level With The Learn Jazz Standards Inner Circle
If you like content like this and want to dive even deeper into jazz theory, check out the Learn Jazz Standards Inner Circle. We have incredible jazz resources and a fantastic community of like-minded jazz musicians who will help you take your jazz playing and theory skills to the next level.
Improve in 30 days or less. Join the Inner Circle.