Use the Phrygian Sound In your Songs

This video explores how to use the Phrygian Scale, the third mode of the major scale, to END your songs. I usually use this as an ending chord on songs if I want to do something different.

[mahlonstrachan]

It not very often a video is posted and the message is delivered the way you delivered today....thanks bro. I will keep watching

[mogul]

Good stuff 🙌🏾 I’ve never understood this mode really until watching this video. Thanks ‼️💪🏾

[remoteworkinternational]

Man, looking at this video. I have alot to learn in playing piano. You actually made me miss it alot. I have to make you be my music teacher. Love from 🇯🇲🇯🇲🇯🇲🇯🇲

[AudoraAudio]

@2:07 - You suggest these are the same notes in an Ab scale, but it's actually the Db scale (With the Gb)

[JadaonPiano]

Sean, you have literally taken the most elementary song, and made it a doctoral thesis! SMH Amazing!!

[RevCEBlair]

The best explanation on the use of the Phrygian Scale. This video offered clarity to something which I've always wondered. Thank you!

[jmanswagg]

1:33 its a c major7 9 13 chord over the 13, so it can still be considered as a c but a slash chord or rootless. I think.

[vladimirtolentino]

you are one of my favorite pianist and a good teacher...greetings from El Salvador

[craigthomas]

Great video! I've always heard this sound as more of a b2 Lydian rather than a b6 Phrygian. Thank you for the alternative perspective!

[Tededison]

Where are you at the mode videos?
I really learned a lot. Thanks.

[zacharyfernandez]

Can I please have the video link of the guy playing Total Praise at the beginning?

[danieldemaris]

So helpful and insightful, also you have a beautiful sound and approach. ✊🏼

[pembanturektor]

what a nice idea that I have been realized

[KarlBonner]

The scale at 1:59 and 2:13 is Locrian, not Phrygian.

[epfirmin]

Super interesting, seeing a lot of confusion in comments with lydian though and I think I know why. Coming from Jazz theory, all scales can be linked to chords, Dmin7 = D Dorian, G7 = G Mixolydian, Dbmaj7#11 = Db lydian etc. with the roots being the same. What I see you doing here is adding a passing chord (usually) between your V and I chords to end your song fluidly. This passing chord is a bIImaj7#11 (which looks like a LOT written like this haha) and your playing the scale linked to this chord, the lydian scale. So G7 - Dbmaj7#11 - Cmaj7. The Db lydian scale you're playing over that chord IS THE SAME as a C Phrygian scale, but coming from Jazz theory I see it as a lydian scale played over a Dbmaj7#11 passing chord, rather than C Phrygian over a Db bass note. You're not wrong, it's all just how we approach these things, but it took me a bit of time to fully understand what you were doing here - the effect (the main thing!) sounds awesome, have been wanting to know how to achieve this sound for a while, so thanks!

[Awolter]

I really like the explanation but I am having a problem listening.. do you have reverb on your voice? I am only hearing it on your video

[reyesallen]

Hmm isn't that the same thing as the triton substitution of C? When you ended the song on F#?

[caramelcocoa]

But how do you create the chords (that is technically in a different key but not in a different key)

[AMAZING_INSIGHTS]

Boss you made it simple with that technical eye

[claudiakramer]

We call it the Jewish scale. So basically if want the "ancient, Jesus born in manger" sound, you do a modal interchange to a major 3rd down from original key (Db major scale) and the new b9 of the new mode (Gb) becomes the "4 chord" of the Db major to be the new home per se. Use on Easter and Christmas service, not only on the ending but also on intermittent cadences and bridges. Also movie scores, do this in an effective but cringy way