There are exotic chords and progressions from the Phrygian mode that any serious pianist must not be without.
Although modes are obsolete and have been replaced by the concept of key 400 years ago, they are still used in modern music in a variety of ways; especially in gospel and jazz music.
If you’re familiar with modes, then the term Phrygian should be familiar to you. Nevertheless, we’ll start out by refreshing our minds on the Phrygian mode.
Ready? Go!
A Quick Review On The Phrygian Mode
There’s no better way to start out than talking about modes briefly. Therefore, permit me to refresh your mind on modes before we proceed.
A Short Note On Modes
Before what we now know as key came to be, an ancient system of modes were in use.
Every white note on the piano has a mode associated with it and modes are basically played by starting and ending on a given white note.
C to C:
…is the Ionian mode.
D to D:
…is the Dorian mode.
E to E:
…is the Phrygian mode.
F to F:
…is the Lydian mode.
G to G:
…is the Mixolydian mode.
A to A:
…is the Aeolian mode.
B to B:
…is the Locrian mode.
A lot of what we play in the major key is associated with the Ionian mode:
…therefore, going beyond the Ionian mode into exploring other modes usually leads to the realization of exotic chords and progressions.
The Phrygian Mode — Explained
Although there are seven modes, our focus in this lesson is on the Phrygian mode:
…which is formed by playing all white notes from E to E.
Due to the fact that E:
…is the third tone in the key of C major:
…the Phrygian mode is associated with the third tone of the major scale/major key.
Attention: The first note of the Phrygian mode is always considered as the third tone of the major scale.
In the formation of the F Phrygian scale, the first tone (which is F):
…is considered as the third tone in a particular key and that is the key of Db major:
So, using the knowledge of the Db major scale, we can figure out the rest of the tones of the F Phrygian scale:
…which is basically the Db major scale:
…played from F to F:
“Here Are All The Phrygian Scales On The Keyboard…”
C Phrygian scale:
C# Phrygian scale:
D Phrygian scale:
D# Phrygian scale:
E Phrygian scale:
F Phrygian scale:
F# Phrygian scale:
G Phrygian scale:
G# Phrygian scale:
A Phrygian scale:
A# Phrygian scale:
B Phrygian scale:
Now that we’ve refreshed our minds on the Phrygian mode, let’s go ahead and explore its exotic chords and progressions.
Chords Of The Phrygian Mode
Following the traditional principles of chord formation, we can form triads, seventh, and extended chords using the Phrygian mode as a scale reference. However, we’ll limit our chord formation in this lesson to triads.
Transposing the E Phrygian mode:
…to C:
…produces the C phrygian scale:
…which looks like the Ab major scale:
…starting and ending on C:
So, keep in mind that you’ll find all the triads in the key of Ab major in the C Phrygian scale.
“Using The C Phrygian Scale, Here Are The Triads…”
On the first tone (which is C):
…is the C minor triad:
On the second tone (which is Db):
…is the Db major triad:
On the third tone (which is Eb):
…is the Eb major triad:
On the fourth tone (which is F):
…is the F minor triad:
On the fifth tone (which is G):
…is the G diminished triad:
On the sixth tone (which is Ab):
…is the Ab major triad:
On the seventh tone (which is Bb):
…is the Bb minor triad:
Altogether, here are the triads derived from the Phrygian scale:
The C minor triad
The Db major triad
The Eb major triad
The F minor triad
The G diminished triad
The Ab major triad
The Bb minor triad
Using the triads above (derived from the Phrygian mode), Phrygian chord progressions can be formed in any key.
Final Words
Using the chords and progressions covered in this lesson, I’m doubly sure that you can create a fanciful ending to your songs
For gospel musicians, you can hear a Phrygian chord progression in Tye Tribett’s Champion in the key of D major:
Our God is the awesome God
There’s none like you
With him we win
He’s our champion
There’s a “3-2-1” Phrygian progression. Using the D Phrygian mode:
…here’s the progression…
The 3-chord:
The 2-chord:
The 1-chord:
I’m sure you enjoyed this lesson and I can’t wait to be back to further this discussion in another lesson.
Thanks for reading.
Chuku Onyemachi
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