The Phrygian revolution is a harmonization of the upper descending tetrachord of the natural minor (that is, the move I - VII - VI - V). This tetrachord is usually found in either the soprano (“soprano Phrygian”) or the bass (“bass Phrygian”).
The name comes from the Phrygian mode (the scale of which corresponds to a natural minor with a low second degree): the upper tetrachord of the natural minor coincides with the lower tetrachord of the Phrygian mode.
Phrygian revolutions are conventionally grouped according to how its most specific level, the VII natural, is harmonized. It can be either a fundamental tone, a third tone, a fifth tone, or a seventh tone; the remaining chords are “adjusted”. Often a Phrygian turn begins with a tonic (T 5 3 or T 6) and ends with D 5 3, but this is not necessary. It is possible to start with VI 5 3 or S 5 3, for example. There can also be more than one chord for each note of the Phrygian turn (for example, the last one is K 6 4 D 5 3).
Phrygian turns on soprano
Phrygian turns on bass
In natural minor, the D-function chords change their structure, namely:
VI5/3 becomes minor(d, V natural)
VII becomes major
III becomes major
The use of these chords in the practice of classical harmony is associated with special turns because these chords do not have the VII# degree in their composition and do not have a sharp gravity in T.
D chords are used in harmonization Phrygian turnover
(downward movement from I to V in natural minor).
The functional feature of this tetrachord is that the VII degree is a sign of the D-function, and the VI degree is a sign of the S-function chords. And a non-normative sequence D-S is formed, which is softened by the absence of gravity of the VII stage in I.
When harmonizing a Phrygian tetrachord, it usually comes to D (harmonic), but an exception is possible (T).
Because The Viennese classics used the natural minor occasionally, but the arrival at the end of the revolution to D (harmonic) restores the classical onics.
In some cases, the Phrygian turn is possible without an initial sound or without a final one.
The Phrygian phrase can be placed in any voice, but most often it occurs in Soprano or Basu. If the revolution is in Soprano, then it is called a “Phrygian revolution of the first kind,” and if in Basu, it is called a “Phrygian revolution” of the second kind.
The Phrygian phrase may be scattered among the voices.
If the Phrygian revolution goes into K6/4, then it is called "
Phrygian cadence
"
.
When harmonizing the Phrygian turnover, it is possible to use T7 (natural) with addresses.
1. Phrygian phrases of the 1st kind:
All chords in the Phrygian revolution must be in the same arrangement!
2. Phrygian phrases of the 2nd kind:
D (natural) chords can be used in harmony not only in connection with Phrygian turns. The use of D (natural) chords is often associated with the emergence variable functions in harmony.
- Function variable - additional functional relationships into which chords enter into each other in the process of harmonic movement. In this case, variable functional relationships are formed only against the background of basic functions.
The Phrygian mode belongs to the group of modes of minor inclination, since between the 1st and 3rd degree there is a minor third. Compared to the natural minor, Phrygian has a lower 2nd degree.
The name of the mode itself comes from the name of the minor tetrachord beginning:
The connection of two such tetrachords gives us the necessary harmony. In classical music, the so-called Phrygian turn has become widespread, which has nothing to do with the Phrygian mode, but is just a harmonization of the upper tetrachord, which is the Phrygian tetrachord:
The tonal structure of the Phrygian mode: P-T-T-T-P-T-T
An interesting fact is that when the major-minor system was established in music (during the time of Bach), Phrygian was the only one that outlived the other natural modes and remained the third most frequently used. Later, however, it was also replaced by the tonal system.
The Phrygian mode is characterized by a harsh, gloomy sound. By lowering the second degree, the softly sad sound characteristic of the minor acquires cold shades. Apparently, for this reason, the Phrygian mode is most common in heavy music.
The classics in using the Phrygian mode are undoubtedly Metallica. On albums from the late 80s to the late 90s, you can find this mode in almost every song.
In general, the Phrygian fret, along with the Locrian one, is the hallmark of the trash style. A textbook example of using a scale from the song Harvester of Sorrow:
This riff seems to deliberately feature not only the signature modes, but also some rarely used ones. In general, even by analyzing such a short fragment one can be convinced of Hetfield’s compositional skill.
Characteristic intervals of the Phrygian mode:
Minor second on the first degree - used in many melodies, very often in flamenco music.
It is also used for singing the foundation (a characteristic feature of natural modes is comparison, with a constant return to the main tone, otherwise the mode loses its definition)
Tritone between 2 and 5 and between 5 and 2 (first bar from Metallica). Due to the introductory nature of the 2nd degree, this tritone sounds darker than in the usual key and is also used wherever possible :)
The fifth 2-6 is often used as consonance and less often as melodic intonation.
A rarer intonation 2 - 7, which due to its breadth, is more often used to create.
Another example of the use of the Phrygian mode. Megadeth's "Take No Prisoners"
Pay attention to the ones used
Harmony of the Phrygian mode
The main distinguishing chords of the scale will be those that have a 2nd degree. These are triads of degrees II, V and VII. Please note that the triad is of V degree, which can be used to create the necessary coloring.
The compounds II-VII and II-I are most often used, since they most clearly reveal the features of the Phrygian mode.
Usage
In improvisation, the Phrygian mode can be used for playing with a second movement of harmony (or in the presence of a clearly expressed Phrygian sound).
Also, the Phrygian mode can be used if necessary to create an East Spanish sound.
Interesting ideas can be obtained by using the pentatonic sound within the Phrygian mode. For example, the scale from E contains D
By combining these pentatonic scales you can get a Phrygian sound. The Phrygian mode is also common in Russian music (Mussorgsky).
Many people have difficulty solving problems on harmony, and the reason for this is not a lack of theoretical knowledge on the subject, but a certain confusion: there are quite a lot of chords, but which one to choose for harmonization is a problem... My article, for which I I tried to collect all the most famous, frequently used passing and auxiliary phrases.
I’ll say right away that all examples relate to diatonic. This means that there are no phrases with “Neapolitan harmony” and double dominant here; we will deal with them separately.
The range of chords covered is the main triads with their inversions, sixth chords of the second and seventh degrees, seventh chords with inversions - dominant, second degree and introductory. If you don’t remember what steps chords are built on, then use a cheat sheet - rewrite the table for yourself.
What is a passing turnover?
Passing revolution is a harmonic sequence in which between a chord and one of its inversions (for example, between a triad and its sixth chord) a passing function of another function is placed. But this is just a recommendation, and by no means a rule. The fact is that the extreme chords in this sequence can also belong to completely different functions (we will see such examples).
It is much more important that another condition be fulfilled, namely, a progressive ascending or descending movement of the bass, which in the melody may correspond to a countermovement (most often) or a parallel movement.
In general, you understand: the most important thing in a passing turn is the progressive movement of the bass + if possible, the upper voice should mirror the movement of the bass (i.e. if the movement of the bass is ascending, then the melody should have a movement along the same sounds, but descending) + along possibilities, the passing chord must connect chords of the same function (i.e. inversions of the same chord).
Another very important condition is that the passing chord is always played on a weak beat (on a weak beat).
When harmonizing a melody, we recognize the passing revolution precisely by the progressive tertian progression of the melody up or down, in compliance with the rhythmic conditions of this conduction. Having discovered the possibility of including a passing revolution in a problem, you can rejoice, only for a short time, so that in your joy you do not forget to write the bass and mark the corresponding functions.
The most common passing revolutions
Passing turn between the tonic triad and its sixth chord
Here the dominant quarter-sex chord (D64) acts as a passing chord. This turnover is shown both in a wide and in a close arrangement. The norms of voice production are as follows: the upper voice and bass move opposite to each other; the D64 doubles the bass; type of connection – harmonic (in the viola the general sound of G is maintained).
Between and its sixth chord, you can also place other passing chords, for example, a dominant third chord (D43), or a seventh sixth chord (VII6).
Pay attention to the peculiarities of voice leading: in rotation with D43, in order to avoid doubling the third in T6, it was necessary to move the seventh of D43 to the 5th degree, and not to the 3rd, as expected, as a result of which in the upper voices we have a pair of parallel fifths ( um5 – si-fa and ch5 – do-sol), according to the rules of harmony in this turn their use is permissible; in the second example, in the passing sixth chord of the seventh degree (VII6), the third is doubled; this case should also be remembered.
A passing fourth-sex chord between the subdominant and its sixth chord
We can say that this is a similar example compared to the first passer that we looked at. The same norms of voice performance.
Passing revolution between the second degree triad and its sixth chord
This turn is used only in major, since in minor the triad of the second degree is minor. The triad of the second degree generally belongs to the category of rarely introduced harmonies; the sixth chord of the second degree (II6) is used much more often, but in a passing revolution its appearance is very pleasant.
Here you should note that in the sixth chord of the second degree itself (in II6), as well as in the passing tonic sixth chord (T6), you need to double the third! Also, especially with a wide arrangement, you need to check the harmonization more carefully for the appearance of parallel fifths (they are completely useless here).
In bars 3-4, the possibilities of connecting the subdominant (S6) and second degree (II6) sixth chords with passing T64 are shown. Pay attention to the voicing in the middle voices: in the first case, the jump in the tenor is caused by the need to avoid the appearance of parallel fifths; in the second case, in II6, instead of a third, a fifth is doubled (for the same reason).
Passing revolutions with a second stage seventh chord
In addition to the seventh chord itself that passes between inversions, various variants of “mixed” turns are possible - using subdominant and dominant harmonies. I advise you to pay attention to the last example with a passing fourth sixth chord (VI64) between the main seventh chord and its fifth sixth chord (II7 and II65).
Passing revolutions between chords of the opening seventh chord
There are many possible variations of passing revolutions involving different chords. If tonic harmony becomes the passing chord, then you should pay attention to the correct resolution of the opening seventh chords (doubling the third is required): incorrect resolution of the tritones that are part of the diminished opening chord can cause the appearance of parallel fifths.
It is interesting that passing harmonies of the subdominant function (s64, VI6) can be placed between the chords of the opening seventh. A superb version is obtained if you take the usual dominant as a passing chord.
What is an auxiliary turnover?
Auxiliary revolutions differ from passing ones in that the auxiliary chord connects two identical chords (actually a chord and its repetition). The auxiliary chord, like the passing chord, is introduced at a weak beat time.
Auxiliary harmonic rotation often occurs on sustained bass (but again, not necessarily). Hence the obvious convenience of its use in bass harmonization (another method of rhythmic fragmentation, along with simple chord movement).
I will show very few auxiliary revolutions and very simple ones. This is, of course, S64 between the tonic (similarly, the tonic quartet-sex chord between the dominant). And another very common one is II2, it is convenient to use it after resolving D7 into an incomplete triad, in order to restore the full structure.
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In natural minor, the D-function chords change their structure, namely:
VI5/3 becomes minor(d, V natural)
VII becomes major
III becomes major
The use of these chords in the practice of classical harmony is associated with special turns because these chords do not have the VII# degree in their composition and do not have a sharp gravity in T.
D chords are used in harmonization Phrygian turnover
(downward movement from I to V in natural minor).
The functional feature of this tetrachord is that the VII degree is a sign of the D-function, and the VI degree is a sign of the S-function chords. And a non-normative sequence D-S is formed, which is softened by the absence of gravity of the VII stage in I.
When harmonizing a Phrygian tetrachord, it usually comes to D (harmonic), but an exception is possible (T).
Because The Viennese classics used the natural minor occasionally, but the arrival at the end of the revolution to D (harmonic) restores the classical onics.
In some cases, the Phrygian turn is possible without an initial sound or without a final one.
The Phrygian phrase can be placed in any voice, but most often it occurs in Soprano or Basu. If the revolution is in Soprano, then it is called a “Phrygian revolution of the first kind,” and if in Basu, it is called a “Phrygian revolution” of the second kind.
The Phrygian phrase may be scattered among the voices.
If the Phrygian revolution goes into K6/4, then it is called "
Phrygian cadence
"
.
When harmonizing the Phrygian turnover, it is possible to use T7 (natural) with addresses.
1. Phrygian phrases of the 1st kind:
All chords in the Phrygian revolution must be in the same arrangement!
2. Phrygian phrases of the 2nd kind:
D (natural) chords can be used in harmony not only in connection with Phrygian turns. The use of D (natural) chords is often associated with the emergence variable functions in harmony.
- Function variable - additional functional relationships into which chords enter into each other in the process of harmonic movement. In this case, variable functional relationships are formed only against the background of basic functions.