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This is the third mode that occurs in the diatonic series based on the natural major scale. In simple English, if you follow the pattern that I’ve shown in the previous parts of this lesson series, this is the third mode in that series. This mode is one of the most charismatic of the modes as it is distinctly eastern sounding in comparison to the other modes in the diatonic series. It is also a popular mode for heavy metal bands to write in as it has dark overtones for the most part. It will also be a tricky mode for some of you to pick up because it has an unusual pattern of notes in it, but believe me it is a good idea to practice all the modes as it means that you are far less likely to be caught by surprise by any song that you hear or decide or write.
Just as a reminder, here is the Ionian mode in C again. Underneath it is where the Phrygian mode appears in this scale using this theory of moving the key to get a different mode to present itself. Concentrate on how the sound of what’s being played changes despite that it’s the same notes in the same pattern but the key has changed.
Ionian mode in C
E||------------------|------------------||----------------------------------|
B||------------------|------------------||----------------------------------|
G||------------------|------2----4---5--||--5---4---2-----------------------|
D||-----------2---3--|--5---------------||--------------5----3----2---------|
A||---3---5----------|------------------||----------------------------5---3-|
E||------------------|------------------||----------------------------------|
Phrygian mode in E
E||------------------|------------------||----------------------------------|
B||------------------|---------------5--||--5-------------------------------|
G||---------------2--|---4---5---7------||------7---5---4----2--------------|
D||---2---3---5------|------------------||-----------------------5---3---2--|
A||------------------|------------------||----------------------------------|
E||------------------|------------------||----------------------------------|
Things to look out for in this mode that make it distinct amongst the other modes: it has a minor third (the third note in the mode gives it a sad tone) but so does Dorian, Aeolian and Locrian(which I’ll show you in another lesson) but that first note that’s just one fret higher than the root only occurs (in the diatonic modes) in Phrygian and Locrian. So we’re getting nearer to singling out Phrygian. Now you probably won’t know this yet but Locrian has a flat 5th note which gives it quite a tense overtone and Phrygian doesn’t, so we’ve got it! Here’s what the mode looks like in parallel with Ionian, the first mode I showed you. Play both of them and see if you can develop an opinion on how they sound different from each other.
Ionian mode in E
E||------------------|------------------||----------------------------------|
B||------------------|------------------||----------------------------------|
G||------------------|-------6----8---9-||-9---8----6-----------------------|
D||------------6---7-|--9---------------||--------------9---7---6-----------|
A||--7----9----------|------------------||---------------------------9---7--|
E||------------------|------------------||----------------------------------|
Phrygian mode in E
E||------------------|------------------||----------------------------------|
B||------------------|------------------||----------------------------------|
G||------------------|-----------7---9--||-9---7----------------------------|
D||--------------7---|-9---10-----------||---------10---9----7--------------|
A||-7---8---10-------|------------------||-----------------------10---8---7-|
E||------------------|------------------||----------------------------------|
This mode is repeatedly used by bands like Metallica and Iron Maiden because of its characteristic dark sound. If you’re planning on writing a metal genre song then I would recommend thinking about this mode as one to use. In particular, this mode is used in parallel with another mode in the now infamous song “Enter Sandman”.
How did I find the Phrygian mode from the natural major scale? I used the rhyme that I showed you in the two previous lessons again. This may seem repetitive to some but I am aware that not everyone who reads this lesson will have read my previous lessons in this series. The pattern goes
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
There is no eighth mode as then the scale repeats itself. And the easy to remember rhyme to remember this order of the modes goes:-
I
Don’t
Play
Lame
Music
Any
Longer
There is a variation of the Phrygian mode that is called Phrygian dominant, but this changes the spacing between the notes and so is not part of the diatonic series; however I will go into it in another lesson if anybody wants me to. The only difference is that the third note in the mode is raised by one fret so that it’s a major third instead of a minor third. This makes the mode sound much more eastern and spacey. This mode is the mode used for the solo of “stargazer” by Rainbow in the key of B. Just thought you might like some kind of reference rather than just my word for it.
That’s pretty much all there is to the Phrygian mode, but if any of you have problems then feel free to ask me on this website. I would certainly recommend looking around this website for other lessons on finger-work as well to go with the modes. The modes and scales tell you what to play to get a certain result, but you still have to learn how to play them to get what you want out of them.
Best of luck guys and I hope it’s going well for all of you out there.
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