phrygian chords piano
November 13th, 2020

(A similar chord can be constructed the other way around, superimposing a dominant over the subdominant bass, e.g. Because the resolution tendencies are then understood and pointed out, and we have found the theoretical standard functional structure. C sharp, D, E, F sharp, G sharp, A, B, C sharp. What I don't really understand is where and why you would use it. Of course, the category chord-scale-theory (CST) and modal mixture are then being ruled out, it seems. It is advisable to take stock of a functional interpretation whenever one is available. Describing the tune as ‘C Dorian/E Phrygian’ is actually very descriptive and accurate of its contents. Almost any sequence of suspended chords will sound convincing, really. Wouldn’t it be instructive to note that we are going from E Phrygian (sound) to Gb Lydian (sound)? From my googling, it looks like a lot of people don't really like his definition and would rather simply define it as a susb9, which I … How else would we explain what happened? I hear and think of it there as a EMaj7#11/Eb. But even then I'm not sure why I'd use a Phrygian instead of the usual. Hence, more flexible thinking and frameworks may be needed. Allowing a song to have several distinct own (possibly unrelated) modal sections seems to be negated as a category. In short - sounds first, terminology later. We would have quickly landed on those suggested above without any reference to any exotic scale modes just by trial and error. When it does, there is no need for anything else. I use them mostly in passages that I want to sound pretty calm but not too simple, because a regular sus chord doesn’t add too much tension while keeping things interesting. There's not a lot more to grasp about them, and they're not even all that important - in fact, I've rarely come across them in the wild, though if you play repertoire in a style that likes this particular sound a lot, you may need to familiarize yourself a bit with it. We retain the b9 and b7, but tinker with the 13 or the sus. And while I'm at it, any good places one might use a regular sus chord? F), producing a chord that is ambiguous between dominant and subdominant. In the modal usage, the "suspended" sound becomes a tonal color in its own right, typically a sound that is ambiguous between dorian and mixolydian by omitting the third. A subreddit for people who care about composition, cognition, harmony, scales, counterpoint, melody, logic, math, structure, notation, and also the overall history and appreciation of music. Hi folks, I'm slowly making my way through Mark Levine's Jazz Piano book, and I'm stumped at the very brief section on Phrygian chords. Correct. A personal favourite resolution of mine is something like F/G - Fm/G - Cmaj7. They're not, not in any useful sense.). I really wanna get a grasp on them as I assume they're pretty important for being so early on in the text (maybe a bad assumption?). From this CST/Modal Mixture angle, an ‘E Phrygian chord’ encompasses a family of possible chord voicings; Dm/E, Dm6/E, Fmaj7#11(no5)/E (Levine’s) and even Dm7/E and F/E - as long as the unique mode characteristic notes are there (b9, nat5, b7). That "phrygian chord" (1, b2, 4, 5, 7), or "sus b9" (either name is fine by me) is a bit of a non-functional oddball, and I wouldn't worry too much about how it "works" - it's a very specific sound, it doesn't quite fit the functional framework, so basically you just accept that it's there, and pick something suitable to play over it (probably something in phrygian or dorian b9). Even if a book says it's a good idea. Similarly, F#m is the chord built on the 7th degree of Ab Phrygian so it too is a natural chord to use. The modal usage can also be used on a smaller scale to create non-functional / non-diatonic quasi-turnarounds; this is because just shifting suspended chords around (e.g. Levine’s particular ‘Phrygian chord’ voicing is just a member of a class, not a class. I do agree that in tonal, functional pieces, of which we are talking about 95% of the time, and therefore in most educational settings (outside of modern jazz), CST and modal chord labels are not helpful. A "phrygian chord" is either (1) a major or maj7 ♭II chord in a major or minor key, or (2) a chord expressing the phrygian mode of its root. More posts from the musictheory community. Although modes are obsolete and have been replaced by the concept of key 400 years ago, they are still used in modern music in a variety of ways; especially in gospel and jazz music. But those notes have to work in the context of the progression, especially the resolution to C. You may find B or E sounds better, in which case it's not phrygian after all. This is because a suspended chord cannot only be constructed by taking a major or minor chord and shifting the third up to the fourth, you can also construct it as a major triad over an alternate bass note one step up from the root (e.g., Fsus = Eb/F). The voice-leading from the A-A♭-G is excellent, it has a lot of minor plagal cadence flavour but packaged within a perfect cadence bassline which ends up with what I can only describe as nostalgic dissonance. It honours all the beauty of our modal heritage but generalizes the theory from only seeing two categories: ‘a (single) modal tune’ or a ‘tonal/functional’ one. A song could have four bars of Cm6/9 with (mainly) C Dorian melodies and four bars of F/E with E Phrygian melodies. Eb) over the bass note from the dominant (e.g. IOW, that's what it sounds like, so that's what to call it. As for regular suspended chords: they are generally used in three ways: functional, modal, and "gospel". It’s a great chord to give a song a twist by adding this in a cadence or using it as an intro or interlude pedal point. You can also check out the Locrian Piano Mode or Lydian Piano Mode. The functional usage of suspended chords is literally as a "suspension" of another chord, often a dominant: the sus4 is a "suspended" third, and can be resolved by moving that voice to the proper third, creating a dominant-7 or minor-7 chord (with the usual 9). Looking around various resources, it looks like it can replace the V in a ii-V-I, or used to "unlock the flat 9 and flat 13" in improv (that one's way out of my league anyways lol). ‘Make it as simple as you can but no simpler than that’. It has the b9 which only the Locrian otherwise would have. The b2 of Ab Phrygian builds the A major chord (the IV chord in the modal sequence). That it also has a V function if the next chord is Am and we call it E7sus4(b9) is a good idea. More freedom of expression, more richness of analysis. If you're not using it as a V chord, one tune where I could see it being used is Nardis which is in E Phrygian(ish) - playing Esus(♭9) would let you add some of the Phrygian-ness to the harmony for a big fat complex-sounding tonic chord and keep the third ambiguous which is a nice sound on that tune. As for why to use that rather than any others: variety, artistic expression, more colours, and why not?

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