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The Phrygian Mode

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In this course we will working on the third mode of the major scale, the Phrygian mode. This is another minor mode, suitable for use of minor seventh chords, particularly if a 'flattened ninth' sound is desirable. We'll begin by learning to play the E Phrygian mode all over the fingerboard using the 'content over patterns' method, after which we will work through a series of bass grooves that put it to use. In some of the later exercises we will also play some grooves that use the Phrygian mode from other keys.

1 – Introduction to the Phrygian Mode

In this video we'll be talking about the Phrygian mode and discussing where it is commonly used.

2 – Playing the Phrygian Mode

In this video we will begin playing the E Phrygian mode all over the fingerboard. As with the other modes, we will be employing the 'content over patterns' theory, letting the notes in the mode guide us rather than memorising fretboard patterns.

3 – Phrygian Exercise #1

This exercise is a rock riff that uses the E Phrygian mode. This line really highlights the modes distinguishing characteristic – the flattened second. This is evident in each bar, whilst the descending lick in the final bar gives you a flavour of the overall sound of the mode.

4 - Phrygian Exercise #2

In this groove we’ll be concentrating on the chromatic movement between the root note and the flattened second. Note the use of an ‘open string jump’: in the fourth bar, the open D-string is used as a jump point to move into the middle register of the bass for the final lick.

5 - Phrygian Exercise #3

This is a fingerstyle funk groove that uses the E Phrygian mode. Try to keep the notes short and punchy here and be sure that the rests are played as rests.

6 - Phrygian Exercise #4

This exercise is another slow tempo funk groove that uses the E Phrygian mode. This is a busy exercise, but it really gets across the sound of the mode.

7 - Phrygian Exercise #5

Here’s another funk line that uses the E Phrygian mode. Once again, you’ll hear that the mode’s distinguishing characteristic (the flattened second) is referenced frequently.

8 - Phrygian Exercise #6

This exercise is a rock riff/groove that uses the G Phrygian mode, belonging to the key of Eb. This is a simple riff with a finger-twisting fill in the fourth bar.

9 - Phrygian Exercise #7

This line uses the D Phrygian mode, from the home key of Bb major. The open D-string is used to create a chordal effect with the other notes and should be allowed to ring where possible. The hammer-on figures in the first and third bars highlight the mode’s ear-grabbing flattened second, which is used here an octave higher, making it a flattened ninth. You should also let the notes in the fourth bar ring into one another so that the chords are heard clearly.

10 - Phrygian Exercise #8

This exercise is a slow rock riff that uses the G# Phrygian mode, from the home key of E major. Chord tones are used extensively here and the flattened ninth (A) occurs as a decoration to reinforce the tonality in the second and fourth bars.