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<h1>Phrygian Dominant Scale</h1>
<p>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.</p>

<h2>Construction</h2>
<pre>
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.
</pre>

<h2>Phrygian Dominant in Common Keys</h2>

<table>
  <thead><tr><th>Root</th><th>Notes</th><th>Parent harmonic minor</th><th>Aug. 2nd</th></tr></thead>
  <tbody>
    <tr><td>E Phrygian dominant</td><td>E F G# A B C D</td><td>A harmonic minor</td><td>F → G#</td></tr>
    <tr><td>A Phrygian dominant</td><td>A B♭ C# D E F G</td><td>D harmonic minor</td><td>B♭ → C#</td></tr>
    <tr><td>B Phrygian dominant</td><td>B C D# E F# G A</td><td>E harmonic minor</td><td>C → D#</td></tr>
    <tr><td>D Phrygian dominant</td><td>D E♭ F# G A B♭ C</td><td>G harmonic minor</td><td>E♭ → F#</td></tr>
    <tr><td>G Phrygian dominant</td><td>G A♭ B C D E♭ F</td><td>C harmonic minor</td><td>A♭ → B</td></tr>
  </tbody>
</table>

<h2>Phrygian vs. Phrygian Dominant</h2>

<table>
  <thead><tr><th>Scale</th><th>3rd degree</th><th>Sound</th><th>Tonic chord</th></tr></thead>
  <tbody>
    <tr><td>Phrygian</td><td>Minor 3rd (♭3)</td><td>Dark minor, no major chord possible</td><td>Im7 (minor)</td></tr>
    <tr><td>Phrygian dominant</td><td>Major 3rd (3)</td><td>Exotic major with dark colouring</td><td>I7 (dominant 7th)</td></tr>
  </tbody>
</table>

<pre>
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.
</pre>

<h2>The Harmonic Context</h2>
<p>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:</p>
<pre>
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.
</pre>

<h2>Cultural Uses</h2>

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

<h2>The Flamenco Cadence</h2>
<pre>
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.
</pre>

<h2>In Jazz</h2>
<p>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).</p>

<h2>References</h2>
<ul>
  <li>Levine — <em>The Jazz Theory Book</em></li>
  <li>Manuel — <em>Popular Musics of the Non-Western World</em></li>
  <li><a href="https://www.jazzguitar.be/blog/phrygian-dominant-scale/" target="_blank" rel="noopener">jazzguitar.be — Phrygian Dominant Scale ↗</a></li>
</ul>
