Phrygian dominant scale

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Pictorial representation of the Phrygian dominant scale. ( Explanation )

The Phrygian dominant scale (or Phrygian major for short ) is also called the Oriental , Spanish , Jewish or combined the Spanish-Phrygian scale , depending on the purpose or region . There are other terms in these languages: Ahava Rabboh ( Hebrew , also: Ahava Rabbah , Ahava Raba ), Freygian ( Yiddish ), or Hijaz ( Turkish / Arabic ).

The Phrygian dominant scale is a heptatonic scale that is often used in Spanish flamenco and Jewish music , among other things . The lowered second between the first and second stage is responsible for the creation of a typically oriental sound.

The name Ahava Rabboh (Exalted Love) comes from the opening words of the part of the Sabbath liturgy in which this scale is used.

The first part of the famous Jewish folk song Hava Nagila is based on this scale. An example of the use of this scale in Western pop music is So cold the night by The Communards (in C sharp Phrygian).

education

The scale can be formed by the third stage of Phrygian scale from the small to the large minor third major third increased. This kind of derivation can be found in Klezmer music in the term Freygian , a Yiddish reference to Phrygian . An alteration of the Phrygian minor third to the Phrygian dominant major third is rather unusual when considering the functional harmony and is only used in instructive lessons about the derivation.

In the chord scale theory , this scale is derived from the fifth chord step of the harmonic minor . Therefore the (rarer) term HM5 is also possible in jazz . In the functional harmonics of jazz, the scale is often viewed as an alteration of Mixolydian: Mixolydian ( 9 / 13) or Mixo for short ( 9 / 13). During improvisation, it is typically applied to dominant chords such as major 7 and major 7 ( 9) (short major ( 9)) and is then always connected to the tension character and the function of the dominant (i.e. on the fifth level) of a minor scale. The first bar of the song Korobeiniki (also known as the Tetris theme) begins, for example, Phrygian dominant, but resolves to a harmonic minor in the next bar.

In Klezmer music, this kind of functional consideration is different: there this scale is applied to the tonic, which has the root note of this scale and forms the first level. The function is therefore completely different, which explains the sound impression, which is often perceived as unusual, in conjunction with the harmonics.

If the seventh degree of this scale is increased by a semitone , the Gypsy major scale is created.

Systematics

If you create a Phrygian-dominant scale z. B. above the fundamental note E (E, F, G , A, H, C, D, E), it can easily be determined that it has the same tone stock as a harmonic minor scale, in this case harmonic A minor ( A, H, C, D, E, F, G , A). Accordingly, this scale can also be used to improvise over an Aeolian minor scale (see chord-scale theory in jazz).

The Phrygian dominant scale and harmonic minor are related in much the same way that the church modes are related:

  .......D-ef--ga-hc-D........... (Misheberakh)
  .........Ef--ga-hc-d-E......... (Phrygisch-dominante Tonleiter)
  ...............A-hc-d-ef--gA... (Harmonisches Moll)

Audio sample

Audio file / audio sample Phrygian dominant scale in C ? / i

See also

Web links