Phrygian Mode

1. What is Phrygian Mode?

Viewed in relation to the major scale, centering re creates the Dorian mode, while centering so results in the Mixolydian mode. The mode I’m introducing today, “Phrygian”, is centered around mi.

Creating a chord from the tonic mi results in an minor chord mi–so–ti, making it a minor type mode. If the second note has a sharp, it becomes the familiar E minor scale.

The “lowered second note” is the characteristic note of the Phrygian mode.

A Phrygian Mode

As the mode in the minor category, let’s reaffirm by placing A as the tonic. As the phrygian is the minor scale with the second note lowered, A phyrigan mode will be like this:

The fact that the second note is flattened means that there is a smooth half-step between the tonic and the note above it. This flattened ti♭ becomes a strongly tendency tone towards the tonic. Therefore, this note is by some referred to as the Upper Leading-tone, guiding towards the minor tonic of la¹.

The usual whole-step relationship between la and ti that we typically hear is here disrupted, creating a half-step, and this changes the way tonal gravity works. In a regular minor scale, ti has its upper neigbor in a half-step (do), and its lower neigber in a whole-step (la). Therefore, even though the tonic is right below, it was relatively easy to ascend.

In contrast, in the Phrygian mode, the situation is reversed — ti♭ is now closer to the tonal center, naturally creating a strong downward gravitational pull.

Therefore, theoretically, the centrality of la, the tonic, is expected to be heightened. Perhaps due to this downward gravity, there is a unique “weight” in the Phrygian mode, giving it a literal sense of “sinking”.

Comparative Experiment

Once again, let’s compare a regular minor scale song with a Phrygian mode song.

Here is the Phrygian mode version. The chords are simple, repeating VI and VII. The distinctive deep sinking vibe is evident. Now, if converted to a regular minor scale…

It sounds like this. Avoiding VII as it becomes a non-diatonic chord, I changed the chord progression to VI_mIVVI_mII_m. The unique “clingy heaviness” of the Phrygian mode disappears, and the inherent buoyancy of the minor scale returns.

2. Application of the Phrygian Mode

Establishing the tonal center in the Phrygian mode can be challenging. With the presence of a flat on ti, it easily stray into the realm of keys with one additional flat. In the case of A Phrygian, it’s F/Dm key. While Mixolydian is another mode that has the ti♭, Phrygian carries greater risks for several reasons when compared to it. To effectively convey the Phrygian mode, it is necessary to greatly restrict the use of chords.

In essence, the safest way to establish the intended tonal center is to use only these two chords: the leader VI_m and the characterful VII. You have to be careful when introducing any other chords than these two.

Bad Example

The importance of emphasizing the tonic chord has already been explained in Dorian and Mixolydian, but it is particularly crucial in the Phrygian mode. The previously noted concern of key confusion is especially prone to happening in the Phrygian mode.

Here, I created a melody with the intention of A Phrygian mode. The melody works hard to establish A as the “modal tonic”. However, the chord progression is A_mG_mF_Δ7, and with this, especially at the end with the F chord, there is a sense of settling into the tonic. With just this progression, F quickly becomes the chordal tonic and the feared “defeat of the modal tonic” occurred.

Indeed, the “modal tonic” created by the Phrygian mode’s melodic line can be easily overshadowed by the chord progression’s “chordal tonic”. It’s easy to lose unless you assemble the notes with attention.

Here is an example where the bass thoroughly plays the modal tonic, successfully establishing the right tonal center. In the case of the Phrygian mode, if you don’t do this, the tonality quickly becomes unstable. While some songs skillfully weave various chords, if you want to showcase the inherent feel of Phrygian, it’s advisable to keep the chords simple.

3. Phrygian Mode Theory

So, the basic approach is to revolve around VI_m and VII, but let’s categorize the chords similarly as before.

Neutral Chords

These four are the “neutral chords”. However, when you add the seventh to I, the characteristic flat is added, making it a bit tricky. Also, IV and II_m are eagerly eyeing the center position — In A Phrygian, they’re F and Dm. Using them can pose the risk of the tonality leaning toward the F/Dm key. The difficulty of Phrygian mode lies in the fact that the neutral chords are not very cooperative.

VI_mIII_mVI_m

Here is an example where the Phrygian mode is incorporated while using various neutral chords. Although the controlling the chordal tonic is OK, the atmosphere of the Phrygian mode doesn’t quite come alive. The Phrygian mode really doesn’t work without the ♭VII chord.

Character Chords

Since Phrygian is a mode with ti♭, character chords are the same as Mixolydian.

VII is the lifeline of Phrygian. As V_m tends to make tonality unstable, it is not used as much. But if you want to bring out the character of the Phrygian mode without ♭VII, there is no choice but to use this one.

Foreign Chords

Foreign Chords are also the same as Mixolydian.

The damage caused by the alteration of III_m is significant, as it disables the construction of the most fundamental D–T resolution in the natural minor key of III_m→VI_m.
The difficulty in creating chord progressions in the Phrygian mode lies in the incapability of the most crucial motion; the fifth down to the tonic.

Auxiliary Chords

It’s quite crazy to add color using accidentals in the already unstable Phrygian mode, but if forced to choose, these two are the same as Mixolydian.

On these chords it’s easy to incorporate ti♭ into melody lines, emphasizing the character notes of the Phrygian mode.

VI_mVIIVI_mIIIII_mV_mVI_m

Here, I tried creating a complex progression by incorporating auxiliary chords. It’s quite an aggressive approach, and the stability is somewhat precarious (with the chordal tonic being somewhat compromised), but well, it has taken a form.

VI_mVIIVI_mVIII_mV_mVI_m

Here is a pattern where III is changed to VI. Well, it has a similar vibe.

Though I tried making samples, I think the charm of the Phrygian mode really comes to life with a straightforward chord progression using only VI_m and VII. Just the Phrygian mode itself is unique enough, so there’s no need to push it any further.

Just VI_mVII

I think it’s better to create a composition with a simple chord progression like this rather than a complex one.

4. Phrygian in Modern Music

So, due to the circumstance that the fundamental D–T motion is not accessible, Building orthodox chord progressions in Phrygian is difficult, thus it didn’t see the light of day much, not only in classical music but also in 20th-century pops.

However, a turning point came in the 1990s when music based on simple bassline loops by synthesizers became popular, offering a glimmer of hope. In the world of bass music, songs can develop solely through changes in sound even without chord progressions. There, the Phrygian mode had plenty of opportunities to shine.

Trance and the Phrygian Mode

Particularly noticeable is the use of the Phrygian in some subgenres of trance music, such as Goa Trance and Psychedelic Trance.

Goa Trance is a genre born in India, and as there are various scales in the Middle East that have a “flattened second degree” similar to the Phrygian, Phrygian mode may have adapted from such ethnic preferences. Of course, not only in trance but also in loop-based music in general, you can find the Phrygian mode playing an active role.

In these genres, it’s common for the bass to continuously emphasize the tonic, so there’s no disturbance to the tonal centricity, sounds like it’s quite natural and commonplace to use Phrygian. While it may have weaker tonality compared to typical major/minor key songs, it seems to function as a good “trippy” element in these genres.

Trap and the Phrygian Mode

Furthermore, the momentum of bass music has not diminished since the 2000s, especially with hip-hop and EDM popularizing trap beats, which has been a considerable tailwind for the Phrygian mode. Trap music also often does not rely on chord progressions for song development, and it’s common for songs to have no harmonic instruments at all, making it very easy to incorporate the Phrygian mode.

Or simply, it may be just the Phrygian style in trance evolved into EDM, and further inherited into trap music. The “leading tone” clinging a semitone above the tonic creates a weighty atmosphere and is perfect for creating an unabashedly gangster-like “badass” feel.

Although it didn’t fit at all into the classical mold based on the basic progression of a fifth downward, it shines so brightly in completely different contexts. Through the Phrygian mode, you can see the interesting and profound aspects of music.

Phrygian and Major Symmetry

Now, let me share a bonus story. The Phrygian, which has a semitone relationship “above” the tonic, is contrasted with the major scale, which has a semitone relationship “below” the tonic.

In fact, the major scale and the Phrygian are in a perfect symmetrical relationship—Going up from the tonic with “WWHWWWH” results in the major scale, while going downward from the tonic with “WWHWWWH” yields the Phrygian mode.

From this perspective, you can argue that the Phrygian mode is a mirror-image major scale. While until now, the reverse of the major scale was considered the minor scale, the true “reverse” is the Phrygian mode. …So what? Well, it’s not much, but this symmetry has a certain romance to it, which you can use to devise some creative music theories, or perhaps use it practically by flipping vertically a major-scale melody to make a phrygian melody, expressing a pure contrast in music, whatever.

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Now, setting aside the discussion of the “romance of symmetry”, the Phrygian mode is an absolutely indispensable presence in today’s bass music. Keeping it in your arsenal will undoubtedly be a weapon in composing such genres.

Summary

• The Phrygian mode is created by lowering the second note of the natural minor scale by a half-step.
• In Phrygian, maintaining tonality is a bit difficult, and its usage is limited. When using it, opting for a boldly simple chord progression is recommended.
• The minor tonic la attains its upper leading-tone, ti♭. As a result, Phrygian has a heavy, dark and sinking mood, suitable for modern bass music.

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