The Phrygian Dominant Bebop Scale - Guitar Diagrams, Theory, Jazz Concepts, Exercises and Lines

Comparison With Other Phrygian Modes

Here are three other types of Phrygian scales :

The Phrygian mode, the third mode of the major scale. The formula is 1 - b9 - b3 - 4 - 5 - b6 - b7
The Phrygian b4 scale, third mode of the harmonic major scale is spelled 1 - b2 - b3 - b4 - 5 - b6 - b7
The Phrygian dominant Scale, fifth mode of the harmonic minor scale. Formula is 1 - b2 - 3 - 4 - 5 - b6 - b7.

Phrygian scale	1	b2 (b9)	b3	4 (11)	5	b6 (b13)	b7
Phrygian b4 scale	1	b2 (b9)	b3	b4 (#9)	5	b6 (b13)	b7
Phrygian dominant	1	b2 (b9)	3	4	5	b6 (b13)	b7

Phrygian Dominant Bebop Exercises

The examples below are based on the G Phrygian dominant bebop scale (G - Ab -B - C - D - Eb - F - F#).

G Phrygian Dominant Bebop Scale	G	Ab	B	C	D	Eb	F	F#
Phrygian Dominant Bebop Scale formula	1	(b2) b9	3	4 (11)	5	b6 (b13)	b7	7

Exercise 1

Exercise 2

Exercise 3

How To Use The Phrygian Dominant Bebop Scale?

The Phrygian Dominant bebop scale is generally played over a VI7b9 chord, at the end of a jazz blues progression (I7 - VI7b9 - iim7 - V7) or over the rhythm changes turnaround (Imaj7 - VI7b9 - iim7 - V7).

Indeed, the tones of a 7b9 chord (1-3-5-b7-b9) match perfectly with the Phrygian dominant bebop scale.

Dominant 7 flat 9 chord	1	(b2) b9	3	X	5	X	X	7
Phrygian Dominant Bebop Scale	1	(b2) b9	3	4 (11)	5	b6 (b13)	b7	7

Phrygian Dominant Bebop Licks

This first example show how to play the Phrygian dominant bebop scale over the VI7b9 chord a rhythm changes turnaround.

As you see you will be playing a Bb major 7 arpeggio (Bb - D - F - A) with an added 13th (G) over Bbmaj7, the C Dorian mode (C-D-Eb-F-G-A-Bb) over Cm7 and notes from F Mixolydian (F-G-A-Bb-C-D-Eb) over F7.

This second line can be found at the end of a Bb jazz blues progression.

Three scales and one arpeggio are used :

Bb7 Mixolydian (Bb-C-D-Eb-F-G-Ab) over the I7 chord Bb7.
G Phrygian dominant bebop over the VI7 chord.
C minor blues (C-Eb-F-G-Bb-B-C) over the iim7 chord (Cm7).
F9 arpeggio (F-A-C-D-Eb) over F9.

Relationship With Diminished 7 Chords - Jazz Concepts

The Phrygian dominant bebop scale contains a diminished 7 arpeggio.

As matter of fact, the flat ninth (b9), third (3), fifth (5) and minor seventh (b7) represent the degrees of a diminished 7 arpeggio (1-b3-b5-bb7).

G Phrygian Dominant Bebop Scale	G	Ab	B	C	D	Eb	F	F#
Formula	1	(b2) b9	3	4 (11)	5	b6 (b13)	b7	7
Ab diminished arpeggio		Ab	B		D		F
Formula		1	b3		b5		bb7

Diminished 7th arpeggios are symmetrical, they are made of minor thirds (3 semitones, 3 frets on the guitar).

This means that the four tones of a diminished 7 arpeggio can produce four dim7 chords.

For example Ab diminished 7 is built with Ab - B - D - F. Each tone of Abdim7 generates a dim7 chord :

Bdim7 (B - D - F - Ab)
Ddim7 (D - F - Ab - B)
Fdim7 (F - Ab - B - D)

All this is to say that you can play a G Phrygian dominant bebop scale over Abdim7, Bdim7, Ddim7 and Fdim7. In other word, you can use the Phrygian dominant bebop scale starting :

A half step (1 semitone) below the root note of a dim7 chord.

Two whole steps (4 semitones) below the root note of a dim7 chord.

Five semitones above the root note of a dim7 chord.

A whole step (2 semitones) above the root note of a dim7 chord.

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