How to use the phrygian mode to make chords and progressions
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- Опубліковано 7 сер 2024
- FREE Major Key Chord Guide : majorkeychords.com
Watch this to learn how to use the phrygian mode to make chords and progressions.
The Phrygian Mode is one of 7 Modes of the major scale. The notes of the Phrygian Mode can be used to create 7 different triads.
This video will show you how to construct these Phrygian Mode chords and then use them in a variety of chord progressions.
Your songwriting will thank you for having this explained to you!
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Modes Explained: • What are modes?
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Timestamps:
0:00 - The Phrygian Mode Explained (Chords & Progressions Guide)
0:10 - What Are The Scale Degrees Of The Major Scale / Phrygian Mode / Minor Scale?
1:37 - How Does The Phrygian Mode Sound & What Genres Of Music Is It Used In?
2:11 - How To Construct Phrygian Mode Chords / What Chords Are In The Phrygian Key?
3:45 - Common Phrygian Mode Chord Progressions & Why They Work
6:52 - How To Use Different Chord Types In Phrygian Mode Chord Progressions
#phrygianmode #musictheory #writeasong
All 7 Modes Explained Here 👉 ua-cam.com/video/C93lMKsE1f8/v-deo.html
Dear lord man, one of my favourite songs has this weird chord progression that I couldn't explain, Em-G-F-Dm. It was Phrigyan all along. Thank you for this.
You're welcome, glad you found the answer to the chord progression!
Which song?
Thank you for a fantastic tutorial and for pointing out that how important the use of the bII is in creating the Phrigian sound. It might seem obvious to people with some musical experience, but I am one of those people who really needs this stuff emphasised so I understand it properly. Thank you so much for explaining this.
You're very welcome!
Thank you, I appreciate that you give sample chord progressions and the rationale behind them. 👍
Glad it was helpful!
That's the best approach to teach modes because we seem them as a individual thing instead of relating it to the "Major Scale starting in a different tonic".
As the last lacks any musical context, your's show the chords for the mode, how to build progressions for each mode, the scales and how to use them. Show them as something by it's own. And that's the best thing we could do.
Understanding Lydian, and creating it's chords just allows you to go full lydian.
That's a very musical and complete approach. You did well. Hands down the best explanation for modes.
And to be fair, that idea "Modes are the Major Scale starting from different notes, and it's progressions starting in different degrees" is just truly understandeable after we learn all this theory behind.
Interesting comment, thanks!
Hell yeah! This is awesome. Thanks again! Great video
Glad you enjoyed it!
Excellent video explaining the Phrygian mode! I have a framed image of all of the modes of major on the wall in front of me, behind my monitor. It's nice to hear them in action.
Glad it was helpful!
Thanks for giving so many examples!
You're welcome!
Some good tips and fun progressions. Thank you.
Very welcome!
Thanks for making this video! Phrygian is a really unique scale
It really is! I'm glad you enjoyed the video.
One of the best explanation about modes on UA-cam. For the sake of completeness, you should also have mentioned the Phrygian dominant, imho.
Thank you! Yes I will try and make a separate video on Phrygian dominant in the future.
Merci beaucoup for this.
Pas de problème!
Thank you!
You're welcome!
Difficult modes:
Phrygian - easy
Ultra Phrygian - medium
Superphrygian / Phrygian flat 4 - hard
Choose your destiny!
PLAYGHT!
Finish it!
You win
Modality!!
:D
Ok that was rather funny!
@@hiiambarney4489
Sub Zero vs Sub Dominant
Wonderful explained... Beautifully taught.. which mode to be used to compose anthem???
thank you so much
You're welcome!
Mind blowing
Thanks!
best video ever
Thanks!
could I use a major 4th chord at the end of the chord progression to add some flavour to the song?
Absolutely, nothing wrong with some modal mixture!
Nice examples! What do you think of occasionally raising the 2nd degree so chord V can be used well, but never as a cadence to I. Rather keep it II to i so we don't loose the phrygian mood, like in the song Elevate feat. Lena CS ?
You can definitely do this! Feel free to borrow chords from elsewhere and trying them in your Phrygian progressions.
Yeah, thanks. I feel like this 2nd degree can be a flexible one if used properly. Like 6th and 7th in a melodic minor. So no diminished V chord which really wants to resolve to chord VI, getting to an unwanted majorish sound.
What about the v⁰ chord?
The v⁰ is not as widely used so I didn't include it's use in progressions.
It contains the ♭2 note, so you can use it like the II & vii chords.
I'd start by pairing it with the I chord and then experimenting from there. See if you like the diminished sound!
Can I flat the chord and make major triad, same as in major key?
@@MrKurdas the Phrygian mode will also make the key feeling agreement on the 2nd note of the key, which sounds darker in key sound, making more actors wear makeup.
Very nice and great explaination of the scale and the chord progressions. However, I'm curious to know how to use the diminished chord (the V chord). Is there good example of a phrygian chord progression where the diminished chord is included? Thanks 🙂
Thanks for the comment, I'm glad you enjoyed the video!
You can use the v diminished chord anywhere in a progression if you don't mind the diminished sound! It wasn't included because many songwriters seek to avoid it.
To begin with I would take some of the examples given in the video, and use the v chord at the end of the sequences.
For example: i II III v or i iv II v
I hope that gives you something to begin with.
@@WriteASong thank you for your reply! That is appreciated! I don't seek to avoid the diminished chord so thank you for writing down some progressions for me! :)
I'm not theoretical master, far from it. But I have a question and I would be so happy if you could answer it.
I have short chord progression of Bm A#° F#m. Recently I substituted the F#m with a C#°. Why does that work and sound so nice?
I can't explain why it sounds nice to you as that's personal!
From a theoretical point of view it looks like a progression is in B aeolian with the A#° being borrowed from B major/ionian.
So Bm A#° F#m would be i #vii° v
Bm A#° C#° would be i #vii° ii
I hope that helps!
@@WriteASong thanks, it helps a lot! But I'm using the Bm harmonic scale for melody and solo. Would that be the same as you discribe?
Answer that and I won't pester you anymore, this time! 😅
Harmonic minor is the same except for the 7th note is raised half a step. This might give you some more tension over certain chords, if you experiment with it and like it then no problem!
Hello, I’m not sure I understand what you mean by II and vii contain the b2. Based on the tonic of your example Cm, how is a Db chord or a Bbm chord intrinsically b2? Thanks for elaborating if you don’t mind.
Thanks for the comment!
Phrygian has scale degrees 1 b2 b3 4 5 b6 b7, C Phrygian has the notes C Db Eb F G Ab Bb.
What I meant was that the II and vii chords have the b2 note from the tonic scale within them.
So in this example the b2 note from C phrygian is Db. This is the root note in the Db chord and the b3rd note in the Bbm chord.
I hope that helps, I could have explained it more clearly in the video.
@@WriteASong oKay, so the Db chord is b2 relative to Cm - understood. So in order to emphasize the b2 relationship the chords need to be next to eacother in a progression. Cool. Thank you. the videos are really helpful 😊
Not necessarily the wrong way, but C Phrygian scale is the 3rd interval of the Ab major scale. Easy way: start from C (of Ab major) as the tonic and the 2nd interval is automatically flatted. This video takes the long way around by converting C major scale into its parallel C minor natural scale (via negative harmony) and then flatting the 2nd of the resulting C minor natural scale to give a C Phrygian scale.
I have no idea what negative harmony is, but I never thought of looking at the Phrigian scale the way you described it. At the moment I find it much easier to think of it in terms of the C Major scale, but I will bear your Ab exaplanation in mind form now on.
@@amd5471 Thanks! I find it's much easier remembering this way when improvising/soloing instead of doing math in my head! Regardless of the key, the modes of the scale is always: root Ionian, 2nd interval Dorian, 3rd Interval Phrygian, 4th interval Lydian, 5th Mixolydian, 6th Aeolian, 7th Locrian. So if you were in C major and use the E as your root, you are playing in E Phrygian. Likewise, If you were in key of F major, and used the A as tonic, then you would be in A Phrygian but still in the key of F major.
Could you explain harmonic Major modes?
ionian b6
why nobody talk about it,why noone know songs??
I will add it to my to-do list.
@@WriteASong
I have problem with functional harmony of harmonic Major
progressions,how to use it etc
we have dimminished chord on ii and vii
...and "iv", if we play (in C ionian b6)
f,a-flat b
"vii" is rootless dominant in natural Major
"ii" is sub dominant ii
but in harmonic Major it is dimminished chord
so,we have three rootless dominants?
one diatonic and two nondiatonic?
Help :(
I will have to look in to this further to help you, sorry about that.
@@WriteASong I made mistake,we have FOUR diatonic dimminished chords
in ionian b6
B dim,D dim,F dim,Ab dim.
So this is in White rabbit as well
text is too big but great explanation! :)
I find this way of understanding the modes to be very complicated, why is better to say that C phrygian is C major with flat 2, 3, 6 and 7 instead of presenting it as Ab major starting from the third note? And then you have the chords of the Ab major scale that are easy to remember (major, minor, minor, major, major, minor, diminished) starting also from the third position. And you only have to remember the structure of the major scale (tone, tone, half, tone, tone, tone, half) and you can easily identify any of the major scale modes and their chords only starting from this. I know that all this is basic music knowledge and I just started to study this a few month ago, but all I ask is why in some parts modes are presented related to the same note major scale instead of being presented related to the relative major that share the exact same notes? What is the advantage?
Thanks for the comment. You are correct in saying there is another way to explain the modes. There is no right or wrong way, or better or worse explanation. Some people find one way easier to think about than the other.
The reason I chose this way is because some people prefer to see each mode as a distinct scale. That makes it easier for them to appreciate that there is a different sound to each mode because they can see how the notes of the major scale have changed.
Some people find the concept of the relative major having exactly the same notes as confusing and counterintuitive. They struggle to see how the same set of notes can produce a different sound.
As with so much in music theory there is more than one way to explain this and none of them are wrong!
@@WriteASong thanks for the reply, I am really enjoying modes and finding new ways to use them on my guitar. I find that learning new things in different ways only makes your understanding stronger. I enjoy a lot music theory lessons on UA-cam, now I have subscribed to this channel also. I find music theory very attractive...
I'm confused??? How does vii 1st inversion become Db? If I move the root Bb from vii an octave higher, it's still a Bb, not an Ab???
The vii chord is BMinor. It has the notes BDand F. The 1st inversion puts the Dnote in the bass as the lowest note and the other two notes above this. It is still a B minor chord because it has the same notes. But playing the D note in the bass gives it a different sound. I hope this helps to clarify things!
@@WriteASong In 8:08 it says "bbm/Db". I don't understand how those can be the same thing because there is Ab note in the Db instead of bbm. Or am I wrong? I also don't understand why the vii has a little 6 after it. I googled and found out it means 1st inversion but I don't understand why it's called a sixth or something.
@@aleksi2627 The Bbm/Db means that this is a Bb minor chord with a Db in the bass. This is also known as a slash chord. It doesn't mean a Db major chord. Yes the little 6 means 1st inversion. A 6 and 4 means 2nd inversion. A sixth is a type of chord, which is a different thing.
I made this video about chord inversions which might help you: ua-cam.com/video/rQWk4p71uLg/v-deo.html
@@WriteASong oooh okay. They sounded so similar to me that I thought Bb minor and Db are the same. I guess the green color tricked me too thanks
Cool, But, why not use E phrygian that not uses any # or b
I look at modes relative to the C major scale to see the difference. But you can also look at modes of the C major scale if it helps you to understand.
There is more than one way to teach modes!
I am even more confused about modes, apparently because different authors define them in different ways. My understanding is that the modes for a specific key have the same key signature as the tonic and no accidentals. If that is so, how is it that C-phrygian has a flat 2nd, let alone all the others? I really hate to be stupid, but I am truly mystified by this whole concept, a concept that seems as if it ought to be so simple. Maybe every teacher ought to start with a clear definition, but just try wading through what is written about modes in Wikipedia. Compare that with other authoritative texts were all the modes are illustrated as being played from the starting to ending notes in C-major on white keys only. It’s a terribly confusing mess in my mind. Can you help? Really?
You are correct in saying there are different ways to explain the modes, you are not being stupid it isn't always simple.
I chose this method rather than the white keys on the piano method because I believe it helps to emphasise the change in sound between the modes.
But there are no right and wrong answers here.
I'm not sure how else to help you as it sounds like the two main ways to explain them are confusing you.
But I hope you are able to find a way to understand them.
nice flat symbol in your profile, now put it before the applicable roman numerals ;)
it's a gloomier mode than aeolian to be honest .
Yes it is.
Bruh you don't need to over complicate it. It's a major scale in a specific key. Offset its tonal center so you're not starting from the root of the key and you get an exotic flavor.
There are several ways to teach the same thing, not everyone finds it easy to understand the way you describe either. That's music theory for you!
@@WriteASong the way you have explained it is perfect. So many tutorials just tell you what notes are in a mode, but they don't explain how to view the mode, how to use it or give any examples of chord progressions from the mode like you do in yours. Your tutorials are brilliant 👌