Phrygian Chords
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- Опубліковано 16 чер 2024
- / michaelkeithson
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Here's a little chat about Phrygian Chords (AKA sus b9 or 7sus4 b9). Why are they called Phrygian chords and where do they come from, how can you use them. Hopefully this little video helps understand them a little better and find a way or two of using them.
Thanks for being here. Would love to hear your thoughts on my thoughts!
Cheers
MK
Video chapters:
00:00 Intro
00:38 What's a Phrygian chord?
02:09 Voicing trick 1
04:04 What's in a name?
04:45 Voicing trick 2
05:35 Dorian b2
06:22 When to use them
All you did is take the 3rd completely out of the equation - instead of committing to major or minor, you postpone collapsing the waveform. Which is excellent - very modern sounding.
Your Channel is the best educational Jazz Channel ever on UA-cam. Wow. Love it ❤
🙏 That's very kind. Thank you. I'm not sure I'd agree but appreciate the comment nonetheless! ❤️
I find your delivery and the technical details you share, utterly compelling. I am a non-jazz-educated choral / organist and the lexicon of chord names compared to how I have met some of these in my professional life at the organ console, are such a joyous delight. Your way of 'talking' to me as I listen, is simply wonderful - thank you so much - my musicianship is ever more capacious and enriched as I learn from your videos!
What a generous comment, thank you! It means a lot to receive messages like yours. I’m really pleased to hear you’re finding some value and enjoyment in what I’m putting out. Thanks for reaching out. 🎹🙏
2:08 You can take this idea step further, if you move your typical dominant 13 or dominant 9 voicing up a minor third you get your Phrygian dominant as you explain, but if you move it up a minor third again then you get your typical altered dominant voicings. So you can make patterns by repeating the shape in minor thirds to climb down from altered to Phrygian to the unaltered dominant or the other way around.
Dude, you’re completely right, I’d never put that together, thank you. I guess because I end up changing the inversion as it starts to get higher I hadn’t clocked it. Thanks for watching and thanks for the comment - might have to do a separate video on just that voicing now!
Rick Beato calls the chord built from the 1, 2♭ and 5 the Phrygian triad and 1, 4♯ and 5 the Lydian triad.
So pretty and useful, thank you Michael!
The occasional comment on guitar adaptations is welcome, and a tab graphic would also be.
really good insight. Thanks for your exceptional teaching
Ah cheers! Glad you enjoyed it. Appreciate your kind comment! 🙏
Hi. Found your channel just recently and it's really gotten me interested in actually learning some "real" music theory. I am 63 and played guitar and some keys/synths by the seat of my pants for 30 or so years. What really helps me are your screen overlays. If I just heard you explain most parts of this video it would soar over my head at blazing speeds. But seeing the Notes on the staff and keys I am actually able to absorb this instruction. Add that to your calm and direct presentation and it really hits me. Thanks for posting it and putting in so much work so unselfishly. ❤
Thanks for your comment. That’s really useful feedback and I’m really pleased you’re finding my videos useful and dare I say inspiring! It’s great to hear that my little videos are making people think and sit down with their instruments! Thanks for taking the time to comment, it’s much appreciated!
Great content as always!
Cheers Eddie! 🙏
Really great video after a long day. Now I can just sit and play some piano with more ideas. Thanks.
I’m not sure everyone’s idea of a relaxing end to a long day would be to think about Phrygian chords but I’m glad you’re watching! 😂
You are a fabulous teacher…I’m a singer songwriter always looking out for ideas…and your explanations are worth the price of admission…even though I got in free!…bravo!🎉
Thank you 🙏. Good to hear you think there’s some useful stuff in there and happy to help!
Always good stuff, thanks. Re: names, I call it "Jazz chord" :D
Thank you for these lessons. Great style of teaching and the sound levels for the videos are great. I've got a question.
In this video and the modal interchange video you discuss the parallel key swap. How do you work out the scale of chords for the modes. Are they related to the parent major or minor? For instance phrygian has a flat2, can that be any chord with a flat 2 or 9? From your example of a 1 4 2 5 1 progtession, you've swapped the dm7 for a d flat major because it's the 2 chord of c phrygian, but why is it a major. How do you know the type of chord it is in the scale of chords for that particular mode? For all the intervals of all the modes. I know the modes but not the chords. Whatt are they in relation to?
Hey! Thanks for the comment and questions, i think I may be difficult to answer in simple comment 😬
Have you watched my video ‘modes part2’? There may be some things in there that help.
If you’re looking to build chords from a scale, you can only use notes from the scale. So in the example you gave the Db chord in C Phrygian, C Phrygian has all the same notes as Ab major, only those notes are available to create chords, so building a chord from the Db you add notes in thirds to build a chord so if you added the notes available from the scale you would get a Db F Ab C which is Dbmajor 7.
I’m not sure that’s very clear and I feel I maybe need to get a better understanding of your question. Hopefully that helps but let me know if you want to talk further. 👍🏼🎹
Agree.
Always interesting lessons! Thank you!
In the Arabic scales, the Phrygian chord (scale) 1:59 has three similar half note modes 'let's say' on the minor scale,
which are; (Kurd, Nahawand, and Heejaz). These modes are beautifully romantic and spiritual..
That's why the Phrygian mode is unique and one of my favorites..
Awesome, thanks for sharing. I don't know much about the Arabic scales, will have to have a look into them. Cheers.
@@michaelkeithson
Cheers!
Thank you for this. I appreciate the follow up.
In the last video, this idea stemmed from taking a diminished chord and lowering any note of the diminished by a semi-tone to create a dom7.
This was elaborated upon to leaving the diminished voicing as is, then lowering the B to a Bb in the bass created the b9 chord.
The question arose around the scale to use over the Bb flat 9.
In this video, the Dom chord is a G b7,b9, which used R, b3, b5, 4, 5, b6, b7 as scale tones for improv..
Continuing the dim to flat 9 example with Bb in the bass, we have Bb, B, D, F Ab.
Do we use scale tones Bb, C, Db, Eb, F, Gb, Ab?
I suppose I could just try it to sense the sound
Hey Richard, thanks for your comment and question.
The scale you described (Bb C Db Eb F Gb Ab) is the Bb Aeolian mode (Db major) which wouldn't typically be used over a Bb7b9 (Bb B D F Ab), as there's no D present. My general approach to chord scale theory is that all the notes of the chord should be present in the scale you're using. So the scales I would typically use over this chord would be:
Bb Phrygian Dominant (Bb B D Eb F Gb Ab) - (Eb Harmonic Minor)
Bb Diminished half/whole (Bb B Db D E F G Ab)
Bb Mixolydian b2 (Bb B D Eb F G Ab) - (Eb Harmonic Major)
Have a play and work out what you like. Hope that's helpful.
I'd also recommend you have a look at my video 'what's so special about dominant chords' as I speak a bit about how we have much more freedom with dominant chords to add chromatic harmony to it without it sounding bad, we don't really have the same freedom with maj7 or min7 chords, so the notes we get to pick from when soloing are a bit more flexible.
@@michaelkeithson thank you I appreciate the organization and thoroughness of your reply
Sounds like Madonna "Deeper and Deeper"
I’m sure someone already said this but there is a typo on the screen at 5:20. G should be the top note of both voicings. Regardless thanks for everything.
Cheers Brandon, unfortunately UA-cam doesn't let you replace a video with an updated version, I'd have to delete and re upload and lose all the views, likes and comments so I will have to exist forever with that mistake! I always double check but still miss things in nearly every video! Thanks for watching 👍
you''re the king of the internet
Arise Sir Old Servant Recordings!
@@michaelkeithson I bow before you. with sincere gratitude and faith.
Boss.
6:44 😂
I guess not