Editing Phrygian dominant scale

{{Short description|Fifth mode of the harmonic minor scale}}
[[File:Ahavah_Rabbah_He.png | thumb | right | alt=musical notation of the Phrygian dominant scale | Phrygian dominant scale (Ahavah Rabbah written)]]
In [[music]], the '''Phrygian dominant scale''' (or the '''Phrygian ♮3 scale''') is the actual fifth [[musical mode|mode]] of the [[harmonic minor scale]], the fifth being the [[dominant (music)|dominant]].<ref name="Hunter">Dave Hunter (2005). ''Play Acoustic'', San Francisco: Backbeat, p. 226. {{ISBN|978-0-87930-853-7}}.</ref> It is also called the '''harmonic dominant''', '''altered Phrygian scale''', '''dominant flat 2 flat 6''' (in jazz), or '''Freygish scale''' (also spelled Fraigish<ref name="W&F">Dick Weissman, Dan Fox (2009). ''A Guide to Non-Jazz Improvisation'', guitar edition, Pacific, Missouri: Mel Bay, p. 130. {{ISBN|978-0-7866-0751-8}}.</ref>). It resembles the [[Phrygian mode]] but with a [[major third]], rather than a [[minor third]]. The [[augmented second]] between its second and third scale degrees gives it an "Arabic" or Middle Eastern feeling to Western listeners.

In the [[Berklee method]], it is known as the [[Mixolydian mode|Mixolydian]] {{music|b}}9 {{music|b}}13 chord scale, a Mixolydian scale with a lowered 9th (2nd) and lowered 13th (6th), used in [[secondary dominant chord]] scales for V<sup>7</sup>/III and V<sup>7</sup>/VI.

== Construction ==
Built on C, the scale is as follows.
: <score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \time 7/4
  c4^\markup { Phrygian dominant scale on C } des e f g aes bes c2
} }
</score>
When related to the scale degrees of the [[major scale]], it reads:
:1 – {{music|b}}2 – 3 – 4 – 5 – {{music|b}}6 – {{music|b}}7 – 1
The sequence of [[step (music)|step]]s forming the Phrygian dominant scale is:
*[[Half step|half]] &ndash; [[augmented second]] &ndash; half &ndash; [[Whole step|whole]] &ndash; half &ndash; whole &ndash; whole

==Traditional use==
This scale occurs in [[Indian music|Indian]], [[Middle Eastern music|Middle Eastern]], [[Balkan music|Balkan]], [[Greek music|Greek music]], [[Eastern European music|Eastern European]], [[Central Asian music|Central Asian]], and [[flamenco]] music. It is also present in Arabic and [[Egyptian music]], in which it is called ''Hijaz-Nahawand'' or ''Hijaz [[arabic maqam|maqam]]'',<ref>{{cite book|last=Peter Manuel|editor=[[Michael Tenzer]]|title=Analytical Studies in World Music|url=https://archive.org/details/analyticalstudie00tenz|url-access=registration|year=2006|publisher=Oxford University Press|location=New York|page=[https://archive.org/details/analyticalstudie00tenz/page/96 96]}}</ref> but is not so frequent. The scale is used in [[Jewish liturgy|Hebrew prayers]] and [[Klezmer]] music as well, where it is known as ''Ahava Rabbah'', ''Freygish'' or just the "Jewish scale", and is called ''Dastgāh-e Homāyoun'' in [[Persian classical music|Iran]].{{Citation needed|date=January 2018}} It is the most common scale in [[Hindustani classical music|North Indian classical]] [[raga]] ''Hijaz Bhairav (Basant Mukhari)'' and [[Carnatic music|South Indian]] raga ''[[Vakulabharanam]]''.<ref>{{cite web|url=http://srutimag.blogspot.com/2013/09/raga-basant-mukhari.html|title=Raga Basant Mukhari|date=2 September 2013|website=srutimag.blogspot.com|access-date=18 April 2018}}</ref>

It is sometimes called the ''Spanish Phrygian scale'', ''Spanish Gypsy scale'' (see: [[gypsy scale]]) or ''Phrygian major scale'' (see: [[phrygian mode]] and [[major scale]]) and is common in [[flamenco]] music.<ref>{{cite book|url=https://books.google.com/books?id=z2pvq-XXJpwC&q=Phrygian+dominant+scale+extremely+common+in+middle+eastern+music&pg=PA61|author1=Scott Jarrett|author2=Holly Day|title=Music Composition for Dummies|place=Hoboken, New Jersey|publisher=John Wiley & Sons|year=2008|page=61|isbn=978-0-470-22421-2}}</ref> It can also be found in traditional Spanish songs outside flamenco, everywhere in Spain to varying amounts, but especially in southern and central areas of the country, often being also known as ''escala andaluza'' (''Andalusian scale'') in Spanish.<ref name=Criville>{{cite web|url=http://media.cervantesvirtual.com/jdiaz/rf006.pdf|archive-url=https://web.archive.org/web/20180417071255/http://media.cervantesvirtual.com/jdiaz/rf006.pdf|url-status=dead|archive-date=2018-04-17|title=Sistemas, modos y escalas en la música tradicional española (notas para un estudio), Revista de Folklore Nº 6|first=Josep|last=Crivillé i Bargalló|date=1981|website=media.cervantesvirtual.com|access-date=9 April 2019}}</ref> Related scales in Spanish traditional music with chromatic notes in the second degree, varying between a semitone and a tone, are also known as "gama española" ("Spanish gamut") or "gama de Castilla y León" (gamut of Castile and León) and, though found all over Spain, are particularly common in [[Castile (historical region)|Castilian]] and [[León (historical region)|Leonese]] traditional songs.<ref name=Criville />

The flatted second and the augmented second between the second and third [[Degree (music)|scale degrees]] of the scale create its distinctive sound. Examples include some versions of "[[Hava Nagila]]",<ref name="Hunter"/> "[[Sha Shtil]]" and "[[Misirlou]]", while other versions of those melodies use the closely related "[[double harmonic scale]]".<ref name="W&F"/> The main chords derived from this scale are [[Tonic (music)|I]], [[supertonic|{{music|b}}II]], [[subdominant|iv]], and [[subtonic|vii]].<ref name="W&F"/>

When the Freygish scale is used in [[Klezmer music]], the sixth degree may be left unflatted if it is melodically approached and left from above,<ref>Ilana Cravitz (January 2004) [https://web.archive.org/web/20120218082039/http://www.manchesterklezmer.org/pages_history_musicology/what_is_klezmer_scales.html Klezmer – Modes and Scales]", ''ManchesterKlezmer.org'' at archive.org (Accessed 23 November 2014).</ref> or the seventh degree may be [[Leading tone|raised]] as well.

The Phrygian dominant scale is often used in jazz composition and improvisation over [[secondary dominant|secondary dominants]] of minor chords in a major key, such as the VI<sup>7</sup> chord in a [[Vi–ii–V–I |VI<sup>7</sup>-ii<sup>7</sup>-V<sup>7</sup>-I progression]].  Some [[modal jazz]] compositions, such as "[[Nardis (composition)|Nardis]]" by [[Miles Davis]], are composed in the Phrygian dominant mode.

==See also==
*[[Hungarian gypsy scale|Minor gypsy scale]]
*[[Hungarian minor scale]]
*[[Ukrainian Dorian scale]]
*[[Flamenco mode]]
*[[Mixolydian mode#Moloch scale]]
*[[Neapolitan chord]]

==Notes==
{{reflist}}

==Further reading==
*Hewitt, Michael. ''Musical Scales of the World''. The Note Tree. 2013. {{ISBN|978-0957547001}}.

{{scales}}

[[Category:Flamenco]]
[[Category:Heptatonic scales]]
[[Category:Hemitonic scales]]
[[Category:Tritonic scales]]
[[Category:Musical scales with augmented seconds]]