The phrygian dominant scale is a subconscious gem in the modes of the harmonic minor scale, but we’re not going to get into too much theory here; instead, we’re going to squint at a couple of concepts that will indulge you to start using the phrygian dominant scale in your playing right away.
First of all, let’s compare it to something you do know, the archetype A Minor Pentatonic scale.
So, we’ve reverted the b3 for a 3 but when using the minor pentatonic, you’re probably doing slight bends on that b3 anyway, so it doesn’t make that much difference. We moreover have a b2 to create the two-fret gap, and a b6. It’s not a huge jump from the minor pentatonic, but the sound changes completely.
What can I do with the phrygian dominant scale?
If you like the sound of the scale but aren’t too fussed well-nigh the theory overdue it, you can do what I love to do, which is squint for chords within the scale pattern (if you are fussed well-nigh the theory, trammels out Scale Fluency – Harmonic Minor Modes).
In the whilom scale pattern, you should be worldly-wise to find the pursuit chords: A Major, A7, Bb Major, Bbmaj7, Dm, DmM7, Em7b5, and Gm7b5. These chords work beautifully together, expressly as you’re playing them in tropical proximity on the fretboard. Therefore, you can play the phrygian dominant scale over any chord progression you come up with using those chords. You can moreover whip out this scale if someone’s chugging on any of the pursuit power chords: A5, Bb5, D5, F5, and G5.
Keep it tasteful
The temptation now is to play it at every opportunity, but as it’s not the most subtle of scales (see what Yngwie Malmsteen does with it), you’re largest off making sure it fits with the tune you’re playing. I usually like to test the waters with just a hint of the b2 – 3 stretch to see if it works, and it’s probably weightier to stave ripping into it over a blues unless your I, IV, V is A7, Dm, Em7b5, which does sound quite nice.
Here are the patterns that fall either side of the archetype pentatonic box with their respective phrygian dominant additions.
Here’s one for venturing remoter up the neck.
Here’s one you can use over a blues (sparingly) that is often played slantingly the phrygian dominant scale: the wizened 7th arpeggio.
As you can see, it’s not a huge jump from the minor pentatonic or the blues scale, but it is a very obvious sound so try to tousle it with the minor pentatonic.
If you want to take the exotic scales and modes thing to plane greater heights, trammels out, ‘Intermediate Guitar Scale Handbook – Exotic Scales Edition‘, which features 15 of my favorite (and most useful) exotic guitar scales and is misogynist on Amazon, Google Play, iBooks, as well as a PDF Version.
The post The Phrygian Dominant Scale – What To Do With It appeared first on Unlock the Guitar.
