Phrygian mode

Phrygian mode, short Phrygian originally referred to a Oktavgattung of ancient Greek Systema teleion, later in the medieval system of the Church notes the third tone or deuterus authenticus (indicated by the Ambitus e - e1, the repercussa c1 and the final, e).

Today is often only understood (eg in modal jazz) including a modal scale with the same interval structure.

Since the third stage of the Phrygian scale is a minor third to the root, it has a minor like character. Depending on a half-step between the first and second and the fifth and sixth stage, the remaining intervals are whole steps.

The key of E Phrygian contains the master tones of Western music, which correspond to the white keys keyboard instruments. It differs from the parallel minor key of E minor humbled by the second stage ( " Phrygian second" ).

Through his half-step to the second stage of the Phrygian mode has an " oriental " sound. A closely related with him scale is the Phrygian dominant scale.

History

The phrygian scale originated in ancient Greece, there was, however, initially Doric. It was not until the early Middle Ages there was a misunderstanding to confusion with the Dorian mode. The Phrygian mode was later used in the Christian church music of the Middle Ages, and was able to hold in addition to the new modes of major and minor because of its tonal features still relatively long.

Musical use

Pop music

In pop music, the Phrygian scale was particularly represented in the rock Psychedelic where the oriental character was combined with a penchant for the exotic in the hippie culture. Phrygian intervals " So Cold The Night " by the group The Communards, " Wanna be starting something" by Michael Jackson and "White Rabbit " by Jefferson Airplane used in "Set The Controls For The Heart Of The Sun" by Pink Floyd. Regularly used the metal band Metallica the Phrygian mode.

Non-European and folk music

The Phrygian mode is the Indian Raga Bhairavi. In Arabic music the key as a Kurdish mode is known, and also learns used in popular music, although the second tetrachord can be easily changed. In classical Turkish music, he has next to the maqam Kürdi resemblance to the maqamlar " Hüseynî " and " Uşşak ". There, however, the second tone is placed slightly higher between half and whole tone, so that the second of the fundamental tone and the second tone is higher than in European music.

For the music of the Iberian peninsula (especially flamenco and fado ) the mode is (Spanish modo DORICO ) influential ( cf. Andalusian cadence ). Both there and in the music of parts of the Roma and Sinti, it is often reinterpreted function harmoniously dominant ( major third ), see Phrygian dominant scale.

Sample

Scale in C Phrygian? / I