Package leaflet · Information for the musician · Scale
C Phrygian Dominant Scale
Exotic, fiery and dramatic. The flat second combined with a major third produces the classic flamenco and Middle Eastern sound.
- 7 notes
- 3 ♭
- exotic
1Composition: what it contains
C – D♭ – E – F – G – A♭ – B♭
- Formula
- 1 ♭2 3 4 5 ♭6 ♭7
- Steps
- H – W+H – H – W – H – W – W
- Number of notes
- 7
- Sharps and flats
- 3 ♭
- Also called
- Spanish Phrygian, Freygish, Hijaz (approximately), fifth mode of harmonic minor
| Degree | Note | Interval | Semitones |
|---|---|---|---|
| 1 | C | unison | 0 |
| ♭2 | D♭ | minor second | 1 |
| 3 | E | major third | 4 |
| 4 | F | perfect fourth | 5 |
| 5 | G | perfect fifth | 7 |
| ♭6 | A♭ | minor sixth | 8 |
| ♭7 | B♭ | minor seventh | 10 |
2Appearance: diagrams and sound
Tip: click any note, key or fret to hear it. Orange = root.
3Indications: what it is used for
The fifth mode of the harmonic minor scale (1-♭2-3-4-5-♭6-♭7). It fits the V7 chord in a minor key, especially V7♭9 resolving to i, and the Andalusian cadence (iv–III–♭II–I in Phrygian terms) used in flamenco. It drives klezmer, Arabic-inspired pop, belly-dance music, neoclassical metal and surf rock. Over a static major chord with a half-step-above major chord (I–♭II), it creates an instant Spanish atmosphere. Rock guitarists also use it for exotic riffs over a pedal on the root.
4Dosage: how to practise it
Ten minutes daily over a I–♭II–I vamp at 80–110 BPM. Isolate the ♭2-3 augmented second and play it until it is accurate. Practise sixteenth-note runs in groups of four and triplet-based patterns typical of flamenco. On guitar, alternate the root on the lowest open string with scale fragments higher up, or use three-notes-per-string runs. On piano, play the major chord with a flat ninth in the left hand. In a minor ii–V–i, use it on the V7 and resolve to the minor third of the i chord.
5Warnings and common mistakes
Do not confuse it with the Phrygian mode: here the third is major. It is a dominant sound, so over a minor tonic chord the major third will clash; switch to harmonic minor or natural minor when the harmony resolves. The flat sixth over a dominant chord with a natural thirteenth clashes. Spelling: the augmented second (♭2 to 3) must be written as different letter names, not as a minor third.
6Interactions with chords, scales and keys
Chords of the scale (triads)
| Degree | Chord | Notes | Listen |
|---|---|---|---|
| I | C | C – E – G | |
| ♭II | D♭ | D♭ – F – A♭ | |
| iii° | Edim | E – G – B♭ | |
| iv | Fm | F – A♭ – C | |
| v° | Gdim | G – B♭ – D♭ | |
| ♭VI+ | A♭aug | A♭ – C – E | |
| ♭vii | B♭m | B♭ – D♭ – F |
Chords of the scale (seventh chords)
| Degree | Chord | Notes | Listen |
|---|---|---|---|
| I7 | C7 | C – E – G – B♭ | |
| ♭IImaj7 | D♭maj7 | D♭ – F – A♭ – C | |
| iii°7 | Edim7 | E – G – B♭ – D♭ | |
| iv(maj7) | Fm(maj7) | F – A♭ – C – E | |
| vø7 | Gm7♭5 | G – B♭ – D♭ – F | |
| ♭VI+maj7 | A♭+maj7 | A♭ – C – E – G | |
| ♭vii7 | B♭m7 | B♭ – D♭ – F – A♭ |
Same notes, different starting point
7Other presentations available
The same scale from every note
- C sharp Phrygian Dominant Scale
- D Phrygian Dominant Scale
- E flat Phrygian Dominant Scale
- E Phrygian Dominant Scale
- F Phrygian Dominant Scale
- F sharp Phrygian Dominant Scale
- G Phrygian Dominant Scale
- G sharp Phrygian Dominant Scale
- A Phrygian Dominant Scale
- B flat Phrygian Dominant Scale
- B Phrygian Dominant Scale
Other scales from the same note
- C Major Scale
- C Natural Minor Scale
- C Harmonic Minor Scale
- C Melodic Minor Scale
- C Dorian Mode
- C Phrygian Mode
- C Lydian Mode
- C Mixolydian Mode
- C Locrian Mode
- C Major Pentatonic Scale
- C Minor Pentatonic Scale
- C Blues Scale
- C Major Blues Scale
- C Whole Tone Scale
- C Half-Whole Diminished Scale
- C Whole-Half Diminished Scale
- C Hungarian Minor Scale
- C Lydian Dominant Scale
- C Altered Scale
- C Double Harmonic Major Scale
- C Bebop Dominant Scale
Read this leaflet carefully before playing. Keep it near your instrument. Free to use, print and share for personal and educational use.