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phrygian chords piano

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. 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 … In short - sounds first, terminology later. And while I'm at it, any good places one might use a regular sus chord? Phrygian sounds more foreboding than a regular V, or a “susb9”, which is in my opinion a very limited definition just as Mark Levine’s definition. 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). A susb9 chord type does make an interesting cadence to a tonic, but it's more like a variation of the borrowed minor iv chord, or half-dim ii chord, with a V bass. The Phrygian Dominant in jazz is a term used for a sus4(b9) chord. Bb-D-E-A to F#-Bb-C-F to E-A-Bb-D. voicings. A song could have four bars of Cm6/9 with (mainly) C Dorian melodies and four bars of F/E with E Phrygian melodies. And of course superimposing a minor subdominant over a dominant bass gets you the "phrygian" chord again, except there really isn't anything phrygian about it in this context. A standard chord label does not provide this information readily, for example many quartal chords which are not just 7sus chords. 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. It gives a tension to the EbMaj7 before and after. G7sus♭9 (G D C F A♭) is Dm7♭5 or Fm6 with a G bass. [EDIT: changed G to E Phrygian]. Scale-wise the B and E are up for grabs (B♭ or E♭ might work) but essentially that's what it is. Levine’s particular ‘Phrygian chord’ voicing is just a member of a class, not a class. To me E Phrygian chord with the notes [E F A B E] perfectly captures what I understand as ’Phrygian’ sound. And it has the nat5 which rules out Locrian. We would have quickly landed on those suggested above without any reference to any exotic scale modes just by trial and error. I'd definitely call it a sus(♭9) chord, not a Phrygian chord. Similarly, F#m is the chord built on the 7th degree of Ab Phrygian so it too is a natural chord to use. C sharp, D, E, F sharp, G sharp, A, B, C sharp. 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. As for using it, in a functional setting it can be a different colour for V chords and resolving from V-I (whether you put a ii before it or not). 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. Only place I’ve encountered it so far is Wayne Shorter’s Infant Eyes. As for why to use that rather than any others: variety, artistic expression, more colours, and why not? It provides a mix of a minor plagal cadence with a perfect cadence. 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. 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. quite vividly reveal the nature of the desired sonic landscape without forcing a particular chord voicing. F/Eb, though this is somewhat less common). We build the C sharp minor seventh chord by using the notes C sharp, E, G sharp, and B. Hopefully these lessons are giving you a good understanding of all of the ways in which musical notes, chords, and scales, relate to one another. F), producing a chord that is ambiguous between dominant and subdominant. But suppose the next chord was [Gb Db Ab Bb C F], Gbmaj9#11. 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). 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. Because the resolution tendencies are then understood and pointed out, and we have found the theoretical standard functional structure. But even then I'm not sure why I'd use a Phrygian instead of the usual. in seconds, thirds, or tritones) creates a feeling of mode shifting, but because suspended chords are somewhat tonally ambiguous, the effect is much less jarring than shifting major or minor chords in a similar fashion (the latter is something you'll hear a lot in the Star Wars soundtrack and similar "epic" film and opera music, often as a cliché way of depicting evil, doom, danger, or similarly "dark" concepts). But nowadays music often defies old clear rules and categories. Therefore, this becomes a natural movement in Phrygian chord progressions. It does not attempt to replace functional analysis, or abuse our modal anchesters, but thrives on both whenever possible. Emadd9/C = Cmaj7#11 or Bmadd11/C etc.) Almost any sequence of suspended chords will sound convincing, really. The presence of a strong directional color note b9 in a 7sus chord will however negate the gospel ‘planar shifting’ category which works so well for plain sus chords. Fadd9/A, Fadd#11/A, Fmaj7#11/A etc. 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 can get with and definitely makes more sense to me. 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). Because the situation was highly functional. Of course, the category chord-scale-theory (CST) and modal mixture are then being ruled out, it seems. The Fm/G is essentially a G7sus(♭9). They are often confusing to students, or simply an unnecessary layer of complication. Nice. "Maiden Voyage" is probably the most famous example of this usage. Wouldn’t it be instructive to note that we are going from E Phrygian (sound) to Gb Lydian (sound)? Yeah it’s a weird chord, and as you can see, terminology is variable. There are exotic chords and progressions from the Phrygian mode that any serious pianist must not be without. I sometimes wonder why this must be so? Hence, more flexible thinking and frameworks may be needed. My knowledge is a bit vague about this but there was a time when jazz musicians used a lot of modal interchange, like the Phrygian mode, in their music. Often functional+borrowing will suffice, I agree. So why the persistent opposition, even suppression? In the case of jazz, in particular, I believe that may be unnecessarily restrictive. The "gospel" usage, then, sits somewhere in between - it is functional, but the suspended chord does not work as a suspension of a normal function, rather, it combines aspects of two different functions, typically subdominant and dominant. Even if a book says it's a good idea. 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). So we are really left with the modal or functional categories for the 7susb9/‘Phrygian’ chord. (A similar chord can be constructed the other way around, superimposing a dominant over the subdominant bass, e.g.

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