Phrygian Dominant Scale

Phrygian dominant is the fifth mode of the harmonic minor scale. It sounds like a dominant seventh chord built on a Phrygian root — major quality with a flatted second. The result is one of the most instantly recognisable exotic sounds in music: the scale that defines flamenco guitar, Middle Eastern maqam traditions, Jewish klezmer, and the dramatic V7 chord in minor key classical music. When you hear the dramatic opening of "Hava Nagila" or a flamenco guitarist running up into a turnaround, that's Phrygian dominant.

Construction

The 5th mode of the harmonic minor scale.
E Phrygian Dominant = 5th mode of A harmonic minor:

A harmonic minor: A B C D E F G# A
5th mode (start on E): E F G# A B C D E

Formula:      1  ♭2  3  4  5  ♭6  ♭7
Step pattern: H  A2  H  W  H  W   W

A2 = augmented second between ♭2 and major 3rd (F and G# in E).
This leap is the characteristic interval — unmistakably exotic.

Phrygian Dominant in Common Keys

Root	Notes	Parent harmonic minor	Aug. 2nd
E Phrygian dominant	E F G# A B C D	A harmonic minor	F → G#
A Phrygian dominant	A B♭ C# D E F G	D harmonic minor	B♭ → C#
B Phrygian dominant	B C D# E F# G A	E harmonic minor	C → D#
D Phrygian dominant	D E♭ F# G A B♭ C	G harmonic minor	E♭ → F#
G Phrygian dominant	G A♭ B C D E♭ F	C harmonic minor	A♭ → B

Phrygian vs. Phrygian Dominant

Scale	3rd degree	Sound	Tonic chord
Phrygian	Minor 3rd (♭3)	Dark minor, no major chord possible	Im7 (minor)
Phrygian dominant	Major 3rd (3)	Exotic major with dark colouring	I7 (dominant 7th)

E Phrygian:          E F G  A B C D   (♭3 = G natural)
E Phrygian dominant: E F G# A B C D   (major 3rd = G#)

The raised 3rd means the tonic chord is E7 (E G# B D) — dominant, not minor.
This is why Phrygian dominant works over V7 in a minor key:
the scale has the major 3rd (leading tone area) of the dominant chord.

The Harmonic Context

In a minor key, the V chord is made major by raising the 7th scale degree — this is the defining feature of harmonic minor. The scale that naturally fits over this V7 chord is Phrygian dominant, because:

Key of A minor, V chord = E7 (from A harmonic minor):
  E7 = E G# B D

E Phrygian dominant = E F G# A B C D
  Contains: E (root), G# (major 3rd of E7), B (5th), D (♭7) ✓
  The scale fits the chord: all four E7 tones are present.
  The ♭2 (F) and ♭6 (C) are the exotic colour notes — they add
  the dark minor-key character over a major chord.

Cultural Uses

Tradition	Name for this scale/mode	Characteristic use
Flamenco	Phrygian (as understood in flamenco theory)	Turnarounds, descending cadences, solo runs
Arabic maqam	Hijaz (partial overlap)	Melodic improvisation, vocal ornamentation
Jewish/Klezmer	Freygish (Ahavah Rabbah mode)	Characteristic klezmer and synagogue melodies
Indian classical	Bhairav raga	Morning raga with similar intervallic structure
Western classical	Harmonic minor V chord scale	Minor key cadences, Baroque and Classical era
Neoclassical metal	Phrygian dominant	Yngwie Malmsteen, Jason Becker — fast runs

The Flamenco Cadence

The classic Phrygian dominant / flamenco cadence (called "Andalusian cadence"):
i → ♭VII → ♭VI → V  (in a minor key, where V is made major)

In E Phrygian dominant:
Am → G → F → E (as chords: Am G F E7)

The descent from ♭VI (F major) to V (E7) is the defining flamenco sound.
E7 here is Phrygian dominant — the ♭2 (F natural) in the scale
explains why F major immediately precedes E7 so naturally.

In Jazz

Over a minor ii-V-i, the V7 chord (e.g., E7 in Am) can be harmonised with Phrygian dominant for a darker, more exotic sound than E Mixolydian. Some jazz players also use it over any V7 chord in a minor-key context for the extra colour it provides, especially in flamenco-influenced jazz (Chick Corea, Al DiMeola, Paco de Lucía).

References

Levine — The Jazz Theory Book
Manuel — Popular Musics of the Non-Western World
jazzguitar.be — Phrygian Dominant Scale ↗