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Topic: Phrygian dominant scale

	Music Theory: Scales
		A scale that starts on C is said to be in the key of C; a scale that starts on F is an F scale; and so forth.
		Scales that have a M3 between the tonic (1) and mediant (3) have a major sound; those with a m3 between tonic and mediant have a minor sound.
		A pentatonic's 5th degree is the same as a major scale's 6th degree, which, you may recall, is the basis for the relative minor of that major scale.
	www.users.qwest.net /~mbenjamin4/mypages/music/scales.html (2320 words)

	Augmented Sixth Chords
		Two factors contribute to the strengthening of dominant function: first, the dominant is approached in all voices by step, so no fifth motion takes place between the chords; second, in the usual voice leading, the dominant scale degree is in the outer voices approached by contrary motion.
		Scale degree 5 is also in the soprano voice approached by scale degree 4, while the inner voices both contain scale degree 1 moving to scale degrees 7 and 2.
		The note determining the functional identity of the chord is the seventh of the dominant 7th and the "root" of the German 6/5 (the note that usually appears in the soprano and forms the interval of the augmented sixth with the bass).
	www.utexas.edu /courses/mus612b/fmain/fdocs/notes/augsixth.html (2293 words)

	Marc Sabatella's Jazz Improvisation Primer: Major Scale Harmony
		The phrygian mode is used occasionally over a minor seventh chord, although often the chord is written as m7b9 as a hint to the improviser that the phrygian scale is to be used.
		That is, a G major scale would contain an F# while the mixolydian contains an F. Since the seventh chord built on the fifth degree of the major scale is a dominant seventh, it is natural to play lines based on the mixolydian mode over a dominant seventh chord.
		As with the major scale over a major seventh chord, the fourth step of the scale (C in the case of G mixolydian) is somewhat of an avoid note over a dominant seventh chord.
	www.outsideshore.com /primer/primer/ms-primer-4-2.html (1473 words)

	Phrygian mode - Wikipedia, the free encyclopedia
		Confusingly, the ancient-Greek Phrygian mode is the same as the medieval and modern Dorian mode.
		Thus, in mediaeval and modern music, the Phrygian mode is a minor musical mode or diatonic scale and may be constructed from the major scale starting on the third scale degree.
		Phrygian major is also known as the Spanish gypsy scale, and is often used in flamenco music.
	en.wikipedia.org /wiki/Phrygian_mode (528 words)

	Phrygian dominant scale - Wikipedia, the free encyclopedia
		The Phrygian dominant scale is constructed by raising the third of the Phrygian scale and is the fifth mode of the harmonic minor scale, the fifth being the dominant.
		It is often known as a Spanish Phrygian scale, as it is commonly used in flamenco music.
		Often, it has found application in modern progressive rock/metal, most notably with Joe Satriani, who cites the Phrygian Dominant as his favorite scale.
	en.wikipedia.org /wiki/Phrygian_dominant_scale (178 words)

	Music Theory
		A dominant chord is simply the chord starting at the fifth position in the scale and is usually a chord with a flatted seventh (of its major scale).
		Dominant chords have a very strong tendency to move (want to resolve) to a Tonic chord, usually the I. The avoid notes I listed are notes that either sound dissonant if held against the associated chord or which confuse the function (tonic, subdominant, or dominant) of the chord.
		For dominant chords (chords functioning as the V chord in a progression), the seven is flatted.
	cultv.com /music/categories/theory.htm (2044 words)

	International Scales * 1000 Great Guitar Sites on the Web *
		Considered a "dominant" scale because of the formula for a dominant chord is 1,3,5,b7.
		E is the 3rd of C, so E phrygian is the same as a C major scale played from E to E. Phrygian is built from 2 phrygian tetrachords.
		Notice the notes for the E dominant 7th chord are in the scale...
	www.guitarsite.com /scales.htm (1789 words)

	Shredaholic \| User Submitted Shred Guitar Lesson
		However, just blasting up and down the scale will not do a thing for you, that was a mistake that a lot of people make (including myself) when trying to initially grasp this style, all it ends up with is you sounding like your running up and down a scale.
		Not only is the Harmonic minor scale you can compose with a lot of other scales, one of my favorites is to use chromatics now and then, When the need calls for it a out of ordinary note will get things noticed.
		Scales, sweeps, technique are all ways we used to communicate - but we have to learn to put it together.
	www.shredaholic.com /user10.html (1323 words)

	Phrygian mode
		WW1/2WWW1/2 = Ionian W1/2WWW1/2W = Dorian 1/2WWW1/2WW = Phrygian WWW1/2WW1/2 = Lydian WW1/2WW1/2W = Mixolydian W1/2WW1/2WW = Aeolian 1/2WW1/2WWW = Locrian
		scale to substitute for both the phrygian mode (1,b2,b3,4,5,b6,b7), and the aeolian mode (1,2,b3,4,5,b6,b7).
		One most often hears the phrygian mode in musics deriving from the classical tradition in Spain (which was undoubtably influenced by local spanish folk traditions and the moorish invasions).
	members.aol.com /snglstring2/scales/phrygian.html (1277 words)

	Phrygian cadence
		A chord progression where the subdominant chord (in first inversion) is followed by the dominant chord (IV
		" represents the chord based on the fourth step of the scale (in first inversion) and the "V" represents the chord based on the fifth step of the scale.
		The Phrygian cadence is a special type of half cadence.
	www.music.vt.edu /musicdictionary/textp/Phrygiancadence.html (96 words)

	Scales and Key Signatures - The Method Behind the Music
		This scale is the same as the natural minor scale, except the seventh step is raised a half step.
		Scales that do not follow the interval patterns of the diatonic or pentatonic scales are called nondiatonic scales.
		The final of the Phrygian mode is always the third degree of a major scale.
	www.numbera.com /musictheory/theory/scalesandkeys.aspx (1352 words)

	Pete Sklaroff - Jazz Guitarist- Jazz Improvisation Page I
		The major scale has a b6 added to its original intervallic structure and for improvisational purposes the scale should be played initially beginning on the Root, 3, 5 or 6 degrees of the scale.
		This scale is most often used when the dominant chord is in its original form or perhaps extended to include the 9th, 11th or 13th.
		This scale is an adaptation of the fifth mode from the Harmonic Minor Scale (sometimes termed the Phrygian Dominant scale) and like the other dominant scale mentioned above, the additional pitch is the Δ7.
	www.petesklaroff.com /Improvisation.htm (1818 words)

	Surf Guitar Tabs - The Ventures - Dick Dale & The Del Tones
		A few elements that made his soloing stand out among the others, was his use of the Phrygian dominant scale along with the use of heavy reverb on his amplifier.
		The Phrygian dominant scale differs from the actual Phrygian mode by having a raised 3rd interval.
		E Phrygian Dominant consist of the notes E F G#(G# is the raised 3rd interval), A,B,C,D,E (shown in example #2) Example #1 Example #2 Phrygian Mode Phrygian Dominant e :---------------------------------------------------
	www.guitartabbooks.com /freelessons/jun.htm (1659 words)

	Neapolitan
		The contrapuntal origin of the lowered second scale degree is as either a chromatic neighbor embellishing the tonic scale degree or a chromatic passing tone connecting scale degree 2 to scale degree 1.
		Although the scale degree b2 and the natural scale degree 2 in the V chord produce a cross relation, its effect is softened by the distribution of the pitches in the progression.
		If we use the 6th scale degree from minor and add b2 as a chromatic neighbor to scale degree 1, we can generate a chord that is identical to the Neapolitan in structure, but functions to embellish the tonic as a neighbor note chord.
	www.utexas.edu /courses/mus612b/fmain/fdocs/notes/neapolitan.html (1598 words)

	chord scale relations
		In the key of C major and all major keys, the Mediant or 3rd chord in the key is often used and a separation chord for the sub dominant chords.
		We know that the dominant 7th chord is the V chord in the major key.
		For example, the G chord would be the dominant 7th chord in the key of C major.
	guitarsecrets.com /chord_scale_relations.htm (1642 words)

	Chromatic Chords
		This chord precedes a diatonic triad, and is its dominant, or its VIIo (the leading-tone triad, or VIIo7, the leading-tone seventh chord).
		This chord most often progresses to the dominant, or the cadential 6/4, and then V. It is theoretically possible to place an augmented sixth chord on other scale degrees, but this procedure is rare and limited to late 19th century music.
		The chord represents an chromatic modification of the the IV6 in the so-called "Phrygian" cadence.
	www.msu.edu /~bruce/chromatic.htm (1866 words)

	Scales (Site not responding. Last check: 2007-11-02)
		These scales are called symmetrical because they are either all the same interval or the same interval pattern.
		Because these scales do not have a pattern of intervals that draws the listener to the end, they tend to leave the listener somewhat disoriented.
		These scales are made of either 5 notes (penta) or variations that are clearly related.
	www.rgsmithmusic.com /horn/scales.htm (86 words)

	D Phrygian-Dominant Scale
		JGuitar's scale calculator will draw scale diagrams showing the fretboard with notes in the selected scale highlighted.
		Adjust the "start fret" option to further highlight a finger pattern for playing the selected scale in a different position on the fretboard.
		Scale diagrams can also be labelled with either letters or scale degrees.
	www.jguitar.com /scale/D/Phrygian-Dominant (79 words)

	Scale Lesson (Site not responding. Last check: 2007-11-02)
		A Scale is an ascending or descending sequence of tones that begins with a specified root note that continues until a note that is an octave higher than the beginning note is reached.
		Given the notes of the C chromatic scale which lead from a C note to the C note an octave higher, you can build a new scale for yourself by removing one or several of the notes from the chromatic scale and playing only the notes that are left behind.
		Composers and improvisors also discovered hundreds of years ago that if they subtract one or two tones from a scale and add one or two tones that were not in the original scale, they produce a scale that sounds related to the previous scale but that produces a different feeling in the listener.
	www.songtrellis.com /concepts/scale (694 words)

	Dominant Chord Voicings
		Basically dominant chords are derived from from four different scales: the mixolydian scale, the altered scale, the lydian dominant scale and the half/whole diminished scale.
		The following dominant chords are all derived from the G altered scale (Ab melodic minor) The altered scale contains both the lowered and raised fifth plus both the lowered and raised ninth making it an easy scale to apply to dominant chords with altered 5ths.
		The next scale to discuss is the G lydian dominant scale (D melodic minor).
	chrisjuergensen.com.hosting.domaindirect.com /chords3.htm (1109 words)

	GuitarLodge.com: User submitted guitar lessons and articles
		Scales refers to a combination of five or more notes played in succession.
		Below is a simple classification of scales according to the number of notes present.
		There may be even more than 8 notes in a scale but it is rare and a common one having more than eight notes is the chromatic scales consisting of all 12 notes in music theory.
	www.guitarlodge.com /guitar-lessons/index.php?ID=189 (1076 words)

	ChopsFactory-Minor Scales
		This is the scale that defines a Minor Maj7 chord.
		This scale is used as the six shord when playing in diatonic major key oriented tunes (A-7 in the key of C).
		The Phrygian scale needs to be heard for a longer period of time to be effective.
	chopsfactory.com /minscales.html (468 words)

	Metal solo´s by Morten Gjermundsen (Site not responding. Last check: 2007-11-02)
		The sound of the phrygian mode is dark and heavy.It´s allso called the flamenco mode by some people because of it´s "spanish" flavor.Here is the E phrygian.
		The fourth in D(10th fret).And the fifth position on the E(12th fret).
		Memorize these 5 position and then try to learn them in other keys.When you have learnt the E phrygian in these five postitions create variations.Trow in some bends,hammer on´s,pull off´s and skip strings.Here´s a few examples.
	www.geocities.com /trollstjerne/metalsolos.html (183 words)

	Solo Guitar - The Blues Scales - Slowhand Blues Guitar
		From that point of view Blues is crazy and wrong - playing dominant major 7th chords all over minor pentatonic scales, using chromatic scale pieces for intros and turnarounds, using a 5 tone scale instead of the accustomed 7 tone scales, adding notes that don't belong to any scale - and these stupid chord progressions...
		The diminished (flat) seventh is the note which is part of the dominant seventh chord, the one which leads back to the tonic (root) note.
		You can see the minor pentatonic scale fingering patterns (with root notes and blue notes) plus the additional notes from the major pentatonic scale, which you don't need in the beginning, but will give you more room to play.
	www.12bar.de /scales.htm (1085 words)

	The Modes of the Major Scale - The Phrygian Mode
		By using the chart below you can determine what major scale to play to get the mode you are looking for and what chord the mode works over, Ex: the C phrygian mode is the same as the Ab major scale and works over a Cmin7 chord.
		Now that you should be able to play the phrygian scale at the drop of a hat, it's time to get you improvising over some different chord progressions.
		The Eb dorian scale is the same as the Db major scale.
	chrisjuergensen.com.hosting.domaindirect.com /modes_2.htm (891 words)

	phrygian.html
		Phrygian is based on the third scale degree of the "Relative Major" scale.
		The Phrygian mode is always based on the third scale degree of the "Relative Major scale.
		That will be the "Tonic" for the "Relative Major" of the C Phrygian Scale.
	urp.home.cyberverse.com /phrygian.html (746 words)

	iBreatheMusic Forums - Exotic Scale Progressions...
		For example, C major scale 5th is G and using the same notes as the C major scale but starting on G as the root is G mixolydian.
		So playing the mixolydian scale over the G7 really brings out the "flavour" of that F in the scale and it's that you are trying to get across in the tone of the mode.
		For example, you could use a phrygian dominant scale against a major triad because it has the same 3rd and 5th that the shord has.
	www.ibreathemusic.com /forums/showthread.php?t=6478 (1821 words)

	Major Modes - Gordon Au
		If you play the phrygian scale, you will hear that its sound is something quite unlike any standard major or minor scale.
		Well, E major has 4 sharps, and all of those are natural in E phrygian; so after a careful look we can see that the phrygian scale has a minor 2nd, minor 3rd, minor 6th, and minor 7th.
		For E phrygian this would be F A B E. Played with an E in the bass, this voicing conveys the basic sound of the phrygian scale.
	www.angeltowns.com /town/gordonburi/edu/modes.htm (1494 words)

	Guitar Nine Records - Guest Column: Why Does A Scale Sound Exotic?
		The intervallic structure of scales can be described with numbers, which represent the intervals of that specific scale.
		E7 is the 5th chord (mode) of A Harmonic Minor (E is the 5th note of the A Harmonic Minor scale).
		Well, if you play the A Algerian scale over an E5 chord, your ear perceives the 5th mode of the A Algerian scale (E is the 5th note of the A Algerian scale).
	www.guitar9.com /columnist313.html (670 words)

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