Phrygian Dominant Lessons 6-10


Lesson 6:

This 6th lesson will be played in the second octave of the scale. It's not much different than some of the other lessons except that this one moves up the scale a little higher, and it ends on the 3rd, M3 to be exact, of the scale.

In the previous examples they have all pretty much ended on the Root note (D). It's great to resolve to the root at the end of something. But for longer lines, ending on the third, fifth, or seventh can push you to resolve things into notes other than the Root. This will help you make longer phrases. And, I suggest stringing all the previous examples together to make longer riffs/lines.

Lesson #6


Attached URL: Lesson #6



Lesson 7:

Lesson 7 goes into a third octave of the scale and also includes a cool slide to emulate maybe a Oud or some similar instrument.

I hope this tab looks right, never tried to put slides on texttab. On the MP3, it's played slow a couple of times then sped up. Just before the slide notice the two picks on the E string at the 11th fret. The first pick is part of the initial phrase, the second pick is part of the part that leads into the slide. So take it slow and work that slide in so it blurs by.

Lesson #7

(/=slide up, \= slide down)


The next couple of lesson will utilize a good part of the fretboard moving things across strings and the length of the fretboard. But, staying in our original scale.

Attached URL: Lesson #7



Lesson 8:

This lesson takes the scale and breaks it down to the "three notes on a string" idea that a lot of players use for modes/scales/patterns and for building speed.

It covers the whole space of the original scale but, it leaves out the 6th note (Bb) of the scale. It still involves some jumps across the fretboard when changing strings, as you'll see.

I think of this pattern as "The Snake Charmer". It has a very unique sound when played like this. This is one of the first things I found by sheer coincidence, it just kind of fell under my fingers one day. And, because it sounded so cool, I had to investigate it further.

Get it down with the three notes to a string, but also break it down to just two notes, or one note, and it will really open up the intervals and give it a "far reaching" sound. Or, use single notes across the strings for some chord clusters that are contained within the scale.

Above all experiment with this one, there's a lot of things you can do with little Indian sounding motifs and repetitive Indian sounding melodies.


Attached URL: Lesson #8


Lesson 9:

This is an idea I've been using as a vehicle for some improve at live shows (as in the video link from the ‘Introduction’ section). It's a nice little motif to jam with and then fly off into different ideas using the scale.

It's also created out of The Snake Charmer, as it uses bits and pieces of the last example.

I've broken it out to four sections. Although, it is one big phrase. Think of this one with tabla's and a Hurdy Gurdy in the background.


Attached URL: Lesson #9



Lesson 10:

This one is hard for me to tab out. Not quite sure how to tab out a bend.

But...small bends, I call them Micro-Bends, give this scale even a MORE outside sound. Think of these bends as bending to the notes in between a half step. There ARE actual notes between half steps in Eastern Music, so I’ve read, I think I read one time that there is two or three.

Sitar players hit these notes by pressing the strings into a “scalloped fretboard”. I'm sure if you have a deep scalloped fretboard you could even do a better simulation of these bends.

Using the Micro-Bends pushes you past the 12-Scale scales of Western Music, that's the way I think of it anyways. And, they create a ton of tension and release.

In this example things are slowed down quite a bit. When I use these ideas it's kind as a passage from one climaxed section in to another motif that will climax.

The slow pieces break up the monotony of motifs and riffage that can take place. Also notice that I am not too eager to move to the next note, but kind of "milking" the note until it forces me to move. That's kind of the way I think of it I guess. Also, it has a very Eastern sound to it when you slow down and incorporate these bends, like an Ode more so than a Sitar I think.

Some information on Micro-Bends (Quarter Tones)

Even more in-depth information

I hope the tab does it justice, it should get you in the ballpark though. Pretty much anytime you see it in the tab where it stays on the same note a few times, this is where the bending is taking place. And also, stick the low D string in between them it'll will make it sound even better.

Sorry, I couldn't do a better job tabbing it.


Attached URL: Lesson #10