STRINGSCALES

F♯ phrygian dominant Scale — Guitar Fretboard Visualization

Low E string: E, F#, G, A#, B, C#, D, E at frets 0, 2, 3, 6, 7, 9, 10, 12

A string: A#, B, C#, D, E, F#, G at frets 1, 2, 4, 5, 7, 9, 10

D string: D, E, F#, G, A#, B, C#, D at frets 0, 2, 4, 5, 8, 9, 11, 12

G string: G, A#, B, C#, D, E, F#, G at frets 0, 3, 4, 6, 7, 9, 11, 12

B string: B, C#, D, E, F#, G, A#, B at frets 0, 2, 3, 5, 7, 8, 11, 12

High E string: E, F#, G, A#, B, C#, D, E at frets 0, 2, 3, 6, 7, 9, 10, 12

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F# phrygian dominant

The phrygian dominant scale, the fifth mode of the harmonic minor scale, is phrygian with a major 3rd: flat 2nd, bright 3rd, and the augmented 2nd between them. It is the definitive flamenco and Middle Eastern guitar sound, and metal's favorite exotic mode. Over a dominant chord resolving to minor, or a static E-style vamp, it is unmistakable in one bar.

it consists of these notes and degrees:

F♯

I

F♯maj
G

bII

Gmaj
A♯

iii°

A♯dim
B

iv

Bm
C♯

v°

C♯dim
D

bVI+

Daug
E

bvii

Em

Characteristic note: A# (natural 3), the major third over a phrygian b2 that creates the Spanish sound.

Same notes, different mode

F# phrygian dominant uses the same notes as the scales below. Start from a different note and you get a new mode built on the very same note set.

G lydian #9A# ultralocrianB harmonic minorC# locrian 6D major augmentedE dorian #4

phrygian dominant in all 12 keys, with chords and related scales

tip
  • Hold the major 3rd (A#) against the flat 2nd (G): that augmented-2nd clash is the flamenco and klezmer sound; do not smooth it out.
  • Vamp F# major to the major chord on bII (G) and back; that two-chord Andalusian cadence is the scale's natural habitat.
  • Over a V7 chord resolving to minor, F# phrygian dominant is the classic choice; land on the 3rd of the target minor chord.
  • For metal, palm-mute the root and accent bII (G), III and bVI (D); the scale riffs itself.

How to play F♯ phrygian dominant on guitar

Five open strings sit in this key, and not one of them is the root or the fifth, so they colour lines rather than anchor them. Open G is the flat second, and the root itself sits at fret 2 on the low E. A capo on fret 2 turns everything into E fingerings, which lets three sharps vanish. Daug fills the bVI+ and Em the bvii.

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