The Phrygian Mode is created from notes of the Major Scale. Specificaly, Phrygian Mode uses the notes of the Major Scale, starting on the third note of the Major Scale. Example: If you have a C Major Scale (which contains the notes C, D, E, F, G, A, B, C), to create a Phrygian Mode you would start on the third note (E). So, your new E Phrygian Mode would consist of the notes E, F, G, A, B, C, D, E. This mode can sound very Exotic when played over certain chords. http://jrsmoots.com/lesson12.htm
Phrygian is the descending intervallic version of major.
Phrygian relates to the sub-harmonic series, and Otonality and Utonality.
To understand this first diagram one simply needs to apply the Major scale formula in reverse. Any of the twelve chromatic notes can be made into a Major Scale by applying the formula of tones and semitones as below. Doh, the root note, begins at C here:
T = one Tone Movement
S = one Semitone movement
Doh Reh Meh Fah Sol Lah Teh Doh
T T S T T T S
C D E F G A B C
A music theory book I read stated that scales were reckoned in an ascending order from a given root. So the clown in us all had a good laugh and reversed the logic. You have to read this same formula from right to left. It won't consist of the same notes even though the root axis is still C.
S T T T S T T
C Db Eb F G Ab Bb C
This in effect makes the note C an axis point to two scales. The mirror scale is a Phrygian Minor scale, so the first relationship here is Major/Minor. Here are both scales joined together at the middle C axis point.
C Db Eb F G A♭ B♭ C D E F G A B C
Instead of playing a tune like Frere Jacques as C D E C, one can swap the mirror notes - C B♭ A♭ C. And instead of accompanying that original melody with the two chords of C and G major, one can swap them for the mirror chords of F and Bb Minor.
C is not the only axis point however. If we find the note D and reflect it through the mirror we find it equals the note B♭. Both are one tone movement away from C. This can be done with all the notes. All except one. There are eleven of the twelve chromatic notes available in the above grid. The missing note is F#. If this note is reflected across the mirror it equals F#, so it is another axis point.
At this stage one can proceed as a musician and start composing music based on mirror logic, or one can start asking questions. The importance of F# as another axis point can be discovered by reversing the scale steps of all seven Modes of the C Major family. Then by reversing the logic of certain traditional rules , like the circle of 5ths , one sees that this central position either side of the mirror (at F#) conveys the same information as at the Root.
Figure 1.12 - Naturally Occurring Frequencies Modes and Music Interval Relations
Figure 13.17 - Focalizing and Reradiating mode of Sympathetic Transmission
Figure 2.3 - Focalizing and Reradiating mode of Sympathetic Transmission
Figure 4.3 - Single Mode Electric Vector Generating Circular Motion also Shown within Triple Vectors
Figure 4.3 - Single Mode Electric Vector Generating Circular Motion also Shown within Triple Vectors - See Also
Models of Laser Cluster Interactions
Modes of Vibration
Modes of Vibration - Annotated
Part 11 - SVP Music Model
Table 2 - Controlling Modes and Proportions
13.40 - A Modern Wizard
19.07 - A Modern Wizard The Keely Motor And Its Inventor
8.9 - Elements of the SVP Model