The Phrygian mode can refer to two different musical modes or diatonic scales: the ancient Greek Phrygian mode and the Mediaeval Phrygian mode. The modern form of the Phrygian mode in use is based on the latter. It is also known in Arabic and in the Middle East as the Kurdish mode.
In Greek music theory, it was based on the Phrygian tetrachord: a series of rising intervals of a whole tone, followed by a semitone, followed by a whole tone. Applied to a whole octave, the Phrygian mode was built upon two Phrygian tetrachords separated by a whole tone. This is the same as playing all the white notes on a piano keyboard from D to D:
D E F G | A B C DPlacing the two tetrachords together, and the single tone at bottom of the scale produces the Hypophrygian mode (below Phrygian):
G | A B C D | (D) E F GPlacing the two tetrachords together, and the single tone at the top of the scale produces the Hyperphrygian mode (above Phrygian), which is effectively the same as the Hypodorian mode:
A B C D | (D) E F G | A
The early Catholic church developed a system of eight musical modes (octoechos) that mediaeval music scholars based on ancient Greek modes. However, due to a misinterpretation of the Latin texts of Boethius, mediaeval modes were given the wrong Greek names. In mediaeval and modern music, the Phrygian mode closely related to the modern natural minor musical mode, also known as the Aeolian mode.
The following is the Phrygian mode starting on E, or E Phrygian, with corresponding tonal scale degrees describing how the modern major mode and natural minor mode can be altered to produce the Phrygian mode:
Mode: E F G A B C D EMajor: 1 2 3 4 5 6 7 1 Minor: 1 2 3 4 5 6 7 1
E Phrygian dominantMode: E F G A B C D E Major: 1 2 3 4 5 6 7 1 Minor: 1 2 3 4 5 6 7 1 The Phrygian dominant is also known as the Spanish gypsy scale, and is often used in flamenco music. Flamenco music uses both Phrygian and Phrygian-dominant often alternating between the two.
E-F-A-B (typical voicing)Even though the Phrygian mode contains a minor triad (E-G-B), the unique characteristic of the Phrygian mode, 2 or F, is utilized in this chord instead. In order to distinguish itself from the minor mode and Dorian mode which are closely related, the third degree of the Phrygian mode, G in this case, is considered an avoid tone. Use of E Phrygian mode over Esus4(9) chord
E F G A B C D E
Von Luther zu Bach: Bericht uber die Tagung 22.-25. September 1996 in Eisenach.(My Only Comfort: Death, Deliverance, and Discipleship in the Music of Bach)(Review)
Sep 01, 2001; Von Luther zu Bach: Bericht uber die Tagung 22.-25. September 1996 in Eisenach. Edited by Renate Steiger. (Internationale...