Phrygian mode

Here's one of the singles from that called Paradise.

What is that, Aeolian? Phrygian? Not Aeolian.

Maybe.

They do love Aeolian.

They're kind of like interchangeable in jazz.

And then the last one would be the Phrygian dominant bebop scale.

So this is used more for altered dominant harmonies.

So if I have, you know, like a E flat seven or sorry, E seven.

this,

I might just adjust the B flat in the scale to be a B natural so that it's more in line with the chord.

But if I play G and I play that Phrygian dominant bebop scale that I mentioned, That's in that minor major sound.

It's highlighting a lot of those chord tones.

If we're going from B flat minor...

Or sometimes it's also a D Phrygian sometimes as well.

Sometimes it's a D Phrygian.

No, I said, I said it's B flat minor a lot of the time, but it's also sometimes it's D Phrygian, but it's also sometimes E major.

Um, Well, because, and let me explain why.

Modulating

they don't let up and it's so good.

One of the things that I love about this song is that it is a Phrygian scale.

Ooh, yeah.

Like, it's just a different version of the scale that gives it a little more of like, is it like Middle Eastern?

When I was teaching recorder, I added A as the second pitch because it was the next easiest to produce.

Once you introduce that second pitch, you can have students play the two pitches as chord roots to a song they already know how to sing in a tonality that uses tonic and subtonic harmonic functions, like Mixolydian, Dorian, Phrygian, or Aeolian.

For example, I use the song Ocean Waves from Music Play.

It goes like this.

Key features include the use of modes, scales that don't follow standard Western major or minor patterns.

The Phrygian mode, for example, has a characteristic flattened second degree that gives it a distinctive, slightly exotic sound to Western ears.

You might also hear the use of quarter tones, which are intervals smaller than a semitone.

Again, these create that microtonal quality that distinguishes non-Western melodic traditions.

Today we're exploring three of the seven modes, sometimes referred to as the church modes due to their use in Gregorian chant.

They have rather imposing names, Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian.

But each one is simply a distinct pattern of half steps and whole steps that get you from a point in one octave to the next.

Two of them are already very familiar.

Or Lydian.

yeah with the flat five or does a lydian sharp five so oh sorry so it's like that so all those all of those scales you know in certain situations though they color the harmony a certain way same thing with a minor you know minor you have many minor scales like dorian you know Or a Phrygian.

Or a melodic minor.

So all those have different colors over the harmony.

Educational institutions responded by codifying modal theory into curricula.

Jazz schools began teaching the Dorian mode first, then moving to Phrygian and Mixolydian for composition classes.

That institutionalization helped standardize what had once been an experimental practice.

In contemporary jazz, modal ideas surface in playlists curated by streaming services that group tracks by groove rather than key signature.

If you look at a piano, if you play only on the white notes, if you play from C to C you would have an Ionian scale, if you play from D to D you would have

a Dorian scale and they have these names from different regions like Phrygian

etc.

maybe even from I don't really know where this comes from and then so these that's that's kind of modal music and then you had the tonal music that has the tonal center with modulations and cadences and there is there's been some analysis about Nirvana's music too