Phrygian Mode on Guitar

Just like in the other mode lessons, before we learn how Phrygian works on guitar, we need to get to know Phrygian in theory. Let's begin...

Phrygian is the 3rd mode, following Ionian (1) and Dorian (2). Therefore, Phrygian begins on the 3rd note of Ionian. This alone implies how the modes relate to each other and overlap as one scale. This will become clearer as we begin to paint the fuller modal picture.

Phrygian has a very distinct flavour, because of one note (which we'll identify in a second). As a result, many musicians see Phrygian as a natural part of flamenco music (although flamenco commonly uses alterations of Phrygian which we'll look at some other time).

Intervals of Phrygian

1 H b2 W b3 W 4 W 5 H b6 W b7 W 8(1)
Hear it (E Phrygian) >

Don't know what the W's and H's mean? If so, take the intervals lesson here before you go on.

So, just like its minor cousin Dorian, Phrygian includes a minor (flat) 3rd (as it's a minor mode) and flat 7th (another natural tone for minor chords). As these two elements of the minor modes was looked at in the Dorian lesson, I won't repeat it!

The key thing to know is, flat 3rd and flat 7th in addition to the root (1st) creates a minor 7th flavour, which are natural minor flavours (will work over minor chords). The 5th is also a natural tone in the minor 7th flavour - 1 b3 5 b7.

Now for the other tones of phrygian...

First we have the flat 2nd (b2) which is unique to this mode (unlike the other minor modes that use the 2nd in its natural, Ionian position - a whole step from the root/1st).

The flat 2nd, just like the flat 3rd or flat 7th, is so-called because it has been lowered by a semi-tone (half step or the equivalent of one fret position) from its natural position in Ionian. Ionian can be seen as the foundation scale which we modify (flatten and sharpen tones) to create different modes/scales.

The flat 2nd is mainly what gives Phrygian its flamenco and also middle eastern sound. Listen below to the unique relationship the flat 2nd has with the root (1st), as they are only a semi-tone apart. Below, I'm playing the same interval across 3 different octaves.

Root-2nd-Root interval: Click to hear >

It's no surprise, then, that this particular interval is commonly used in darker forms of music (e.g. heavy metal). Flamenco itself builds on this unique flat 2nd tension, using it as a foundation for the atmosphere of the music.

By adding in more intervals, we can get a good ear for Phrygian's signature sound, with the flat 6th being another key tension in the scale. More on how to use these notes over chords soon!

Click to hear >

Phrygian mode on guitar

So, like in the previous mode lessons, let's map out the intervals of Phrygian into a simple "boxed" pattern across the 6 strings of the guitar...

Phrygian mode

As that shape can be moved up and down the fretboard depending on which key we're playing in, the root (1) note defines the key. For example, if that root note lied on the E note, the whole scale would be E Phrygian.

If you don't know where all the main root notes lie, try this lesson.

We'll look at expanding out of this box in a later lesson.

Here's how the boxed pattern is commonly fingered...

Phrygian fingering

Playing Phrygian over chords

We know from above that Phrygian is a minor mode, so how can we make the most of the tones over a minor chord or Phrygian based chord progression?

The flat 2nd

The important thing to know about the flat 2nd is that it most often works best as a passing tone. That is, a bridge between two more stable tones (e.g. the sequence could go: 1 b2 5 - b2 is the bridge between the 1st and 5th tones). Lead guitar is all about starting notes and finishing/landing notes and bridging them together into meaningful phrases.

Hold the flat 2nd over a regular minor chord and it might sound a little... harsh. This isn't so bad for flamenco or more exotic music, but only you can decide how you want it used in your music!

Take a listen to flat 2nd being held over a minor chord >

Now listen to the flat 2nd being used as a passing tone between the 4th and b7. The sequence is: 1 b2 4 b2 1 b7 1

Take a listen >

Sounds more natural doesn't it? It's getting that balance right - the flat 2nd can compliment your solo, or it can ruin it if not used carefully and knowingly.

You can also use hammer-ons to touch on the flat 2nd, before quickly pulling off back to the root (1st). The idea is to know where the more stable tones are, so you can resolve to them when needed.

Flat 6th

Treat this note just like the flat 2nd in most circumstances - a passing tone. It can be held in certain situations, but it's most often a note that needs resolving. That means it naturally leads on to a more stable tone. Below I play the flat 6th and resolve it to the 5th, which is definitely a more stable tone. This is what playing lead is all about - tension, resolution, tension, resolution etc.

Take a listen >

Removing the minor 3rd

Many musicians like to remove the minor 3rd from Phrygian altogether, because doing so puts more emphasis on the flat 2nd, and the mood it creates. Also, the minor 3rd can often sound a bit... wrong. You'll come to realise that a major 3rd actually works better in certain instances. We'll look more at this another time as it's a different mode.

Phrygian with no minor 3rd

Now that we've removed the minor 3rd, the modified Phrygian mode could essentially be applied over major chords. However, in that instance, a major 3rd is often used in place of the minor 3rd, creating a scale called Phrygian Dominant. More on this wonderful scale another time!

If you don't remove the minor 3rd, it's best used, like the flat 2nd and flat 6th, as a passing tone. It might sound strange that a minor mode can't make much use of the minor 3rd, but this is because Phrygian sounds more natural over a chord progression, rather than just a single chord. The progression of chords puts the scale into context.

Pentatonic option

Notice how if you strip phrygian down to just the minor essentials we looked at earlier - 1 b3 5 b7, but also keep the 4th intact, we get that familiar minor pentatonic scale:

Pentatonic scale tones

In fact, this works over any minor mode/scale that accomodates those tones. The reason I've brought it up in a mode lesson is because you can switch between regular, 7 note scales and 5 note pentatonics to make your music more dynamic. Mix it up a little.

It's also worth noting that Phrygian works especially well over suspended chords (e.g. Asus2, Asus4). Suspended chords are where the 3rd (whether major or minor) has been replaced by another note - usually the 4th (sus4). Because suspended chords are neither major or minor, we know Phrygian will be compatible. It'll simply add that minor 3rd to create a minor sound overall. However, the minor 3rd in Phrygian will be better used as a passing tone over "sus" chords, just like the flat 2nd with most chords.

There's a suspended chord backing track below to help you clarify this.

Phrygian jam track

You don't have to get inventive at the moment. Just explore different sequences of Phrygian's intervals over the ambient E minor backing track below and hear how each tone in the scale adds to the depth of the music. Experiment! You'll have this jam track for life (download it!), so you can keep coming back to it as you improve.

As mentioned before, using the minor 3rd can sound a bit out of place, even though it's technically a minor scale, but using it as a passing tone can put it all into context and bring out that harsh, exotic sound.

As we're in the key of E, we can also play an open fingering of the scale, with the lowest root note being the open E string.

Download the E Phrygian jam track here >

E Phrigian at 12th fret

Like heavy metal? Try playing Phrygian over the jam tracks in the heavy metal scales lesson. Metal and Phrygian go together brilliantly.

Enjoy! If you want a real head start with learning and understanding guitar scales, try the Guitar Scale Mastery Course here.

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