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Phrygian Dominant · Guitar

Phrygian Dominant Chord Progressions on Guitar

Phrygian dominant chord progressions use only the seven chords of the scale and come home to its major I chord, most often through bII falling a half step: Am F E, Dm F E or E F Dm F in E. With seventh chords the same moves read Am(maj7) Fmaj7 E7 or E7 G#dim7 Fmaj7 E7.

I bII bvii bII vamp in E Phrygian dominant

| E | F | Dm | F |

What chord progressions does the Phrygian dominant scale use?

The scale in E is E F G# A B C D, and its seven chords are E, F, G#dim, Am, Bdim, C+ and Dm, or with seventh chords E7, Fmaj7, G#dim7, Am(maj7), Bm7b5, Cmaj7#5 and Dm7 (all of them on the Phrygian dominant chords page). Every progression on this page uses only these chords, so the scale fits every bar and the sound never leaves the mode.

Below are 24 progressions, 12 with triads and 12 with seventh chords, each with three or four chords, each starting or ending on the home chord. The strongest pull to home is the bII chord falling a half step, F to E in E: the Phrygian cadence. Each progression has its own player: change the key, pick one of the five neck regions, or play it along the neck with every root on the 6th, 5th or 4th string.

Phrygian dominant chord progressions with triads

Twelve progressions with the seven three-note chords of the scale. Each one starts or ends on the home chord, E in E, and most of them reach it through F, the bII chord a half step above.

I bII bvii bII: the E F Dm F Phrygian dominant vamp

The home chord, the bII a half step above it and the minor chord a whole step below the root: E, F, Dm, F in E; A, Bb, Gm, Bb in A. Dm and F share two notes, F and A, so the middle bars move smoothly, and the F in bar 4 falls a half step back to E when the loop starts again.

| E | F | Dm | F |

E Phrygian dominant · I bII bvii

I bII bvii bII vamp in E Phrygian dominant

| E | F | Dm | F |

Guitar chord progression I bII bvii bII vamp in E Phrygian dominant, one bar each: E F Dm F, with chord diagrams in the open position, frets from the low E string: E (022100), F (133211), Dm (xx0231).
I bII bvii bII vamp in E Phrygian dominant: | E | F | Dm | F |

I bII iv bII: E F Am F chord progression on guitar

The same vamp with the minor iv chord in bar 3: Am in E, Dm in A. Am and F share A and C, so bars 3 and 4 hold the tension of the bII chord until the E chord opens the loop again.

| E | F | Am | F |

E Phrygian dominant · I bII iv

I bII iv bII vamp in E Phrygian dominant

| E | F | Am | F |

Guitar chord progression I bII iv bII vamp in E Phrygian dominant, one bar each: E F Am F, with chord diagrams in the open position, frets from the low E string: E (022100), F (133211), Am (x02210).
I bII iv bII vamp in E Phrygian dominant: | E | F | Am | F |

iv bII I cadence: Am F E in Phrygian dominant

A three-chord cadence that ends on the home chord, held for two bars. From F to E every note of the chord falls a half step: F to E, A to G#, C to B. That move, bII to I, is the Phrygian cadence, and it is what makes the major E chord sound like home in this mode.

| Am | F | E | E |

E Phrygian dominant · iv bII I

iv bII I cadence in E Phrygian dominant

| Am | F | E | E |

Guitar chord progression iv bII I cadence in E Phrygian dominant, one bar each: Am F E E, with chord diagrams in the open position, frets from the low E string: Am (x02210), F (133211), E (022100).
iv bII I cadence in E Phrygian dominant: | Am | F | E | E |

bvii bII I cadence: Dm F E on guitar

The minor chord on the flat 7th starts the cadence: Dm, F, E, E in E; Gm, Bb, A, A in A. Dm and F share F and A, so only the bass and one voice move before the half step down to E.

| Dm | F | E | E |

E Phrygian dominant · bvii bII I

bvii bII I cadence in E Phrygian dominant

| Dm | F | E | E |

Guitar chord progression bvii bII I cadence in E Phrygian dominant, one bar each: Dm F E E, with chord diagrams in the open position, frets from the low E string: Dm (xx0231), F (133211), E (022100).
bvii bII I cadence in E Phrygian dominant: | Dm | F | E | E |

Descending bass iv iii° bII I: Am G#dim F E

The bass walks down A, G#, F, E: the first four notes of the scale backwards, with a chord of the scale on each one. The G# of the second chord is the 3rd of the home chord, and the last step, F to E, is the Phrygian cadence.

| Am | G#dim | F | E |

E Phrygian dominant · iv iii° bII I

Descending bass iv iii° bII I in E Phrygian dominant

| Am | G#dim | F | E |

Guitar chord progression Descending bass iv iii° bII I in E Phrygian dominant, one bar each: Am G#dim F E, with chord diagrams in the open position, frets from the low E string: Am (x02210), G#dim (xx643x), F (133211), E (022100).
Descending bass iv iii° bII I in E Phrygian dominant: | Am | G#dim | F | E |

Rising bass I bII iii° bII: E F G#dim F

The bass climbs E, F, G#: the half step and the augmented second that give the scale its sound (in Arabic music the same four notes, E F G# A, are the Hijaz tetrachord). G#dim, G# B D, holds three notes of E7, so it pulls back through F to the home chord.

| E | F | G#dim | F |

E Phrygian dominant · I bII iii°

Rising bass I bII iii° bII in E Phrygian dominant

| E | F | G#dim | F |

Guitar chord progression Rising bass I bII iii° bII in E Phrygian dominant, one bar each: E F G#dim F, with chord diagrams in the open position, frets from the low E string: E (022100), F (133211), G#dim (xx643x).
Rising bass I bII iii° bII in E Phrygian dominant: | E | F | G#dim | F |

Rising bass I bII iii° iv: E F G#dim Am

The climb goes one step further and lands on Am, the iv chord, in bar 4: E, F, G#, A in the bass, the whole lower tetrachord of the scale. The loop then drops from Am back to E, whose G# sits a half step under the A of the chord before it.

| E | F | G#dim | Am |

E Phrygian dominant · I bII iii° iv

Rising bass I bII iii° iv in E Phrygian dominant

| E | F | G#dim | Am |

Guitar chord progression Rising bass I bII iii° iv in E Phrygian dominant, one bar each: E F G#dim Am, with chord diagrams in the open position, frets from the low E string: E (022100), F (133211), G#dim (xx643x), Am (x02210).
Rising bass I bII iii° iv in E Phrygian dominant: | E | F | G#dim | Am |

iv bvii bII I: Am Dm F E chord progression

Two minor chords a fourth apart, then the cadence: Am, Dm, F, E in E; Dm, Gm, Bb, A in A. Each chord keeps a note of the one before (A, then F and A), so the only big move is the half step fall from F to E.

| Am | Dm | F | E |

E Phrygian dominant · iv bvii bII I

iv bvii bII I in E Phrygian dominant

| Am | Dm | F | E |

Guitar chord progression iv bvii bII I in E Phrygian dominant, one bar each: Am Dm F E, with chord diagrams in the open position, frets from the low E string: Am (x02210), Dm (xx0231), F (133211), E (022100).
iv bvii bII I in E Phrygian dominant: | Am | Dm | F | E |

I iv bvii bII loop: E Am Dm F

The home chord first, then the roots climb by fourths, E to A to D, and the bII in bar 4 hands the loop back to E with the half step fall. Over it, aim for the G# of the E chord and resolve it up to A over Am.

| E | Am | Dm | F |

E Phrygian dominant · I iv bvii bII

I iv bvii bII loop in E Phrygian dominant

| E | Am | Dm | F |

Guitar chord progression I iv bvii bII loop in E Phrygian dominant, one bar each: E Am Dm F, with chord diagrams in the open position, frets from the low E string: E (022100), Am (x02210), Dm (xx0231), F (133211).
I iv bvii bII loop in E Phrygian dominant: | E | Am | Dm | F |

I bVI+ bII I: E C+ F E with the augmented chord

C+, C E G#, is the augmented chord of the scale and keeps two notes of the E chord, E and G#: from E to C+ only B moves, up a half step to C. C+ then moves to F, keeping its C, and F falls a half step back to E.

| E | C+ | F | E |

E Phrygian dominant · I bVI+ bII

I bVI+ bII I in E Phrygian dominant

| E | C+ | F | E |

Guitar chord progression I bVI+ bII I in E Phrygian dominant, one bar each: E C+ F E, with chord diagrams in the open position, frets from the low E string: E (022100), C+ (x32110), F (133211).
I bVI+ bII I in E Phrygian dominant: | E | C+ | F | E |

I bVI+ iv I: E C+ Am E chord progression

A line moves inside the chords while the rest stays: from E to C+ the B rises to C, from C+ to Am the G# rises to A, and back on E both fall again, A to G# and C to B. Three chords, two half steps up and two down, all inside the scale.

| E | C+ | Am | E |

E Phrygian dominant · I bVI+ iv

I bVI+ iv I in E Phrygian dominant

| E | C+ | Am | E |

Guitar chord progression I bVI+ iv I in E Phrygian dominant, one bar each: E C+ Am E, with chord diagrams in the open position, frets from the low E string: E (022100), C+ (x32110), Am (x02210).
I bVI+ iv I in E Phrygian dominant: | E | C+ | Am | E |

iv v° I cadence: Am Bdim E in Phrygian dominant

The bass climbs A, B, then falls to E for two bars. Bdim, B D F, holds the 5th, the flat 7th and the flat 9th of E, the sound of E7b9 without its root, so it leads home like a dominant chord built on the home chord's own notes.

| Am | Bdim | E | E |

E Phrygian dominant · iv v° I

iv v° I cadence in E Phrygian dominant

| Am | Bdim | E | E |

Guitar chord progression iv v° I cadence in E Phrygian dominant, one bar each: Am Bdim E E, with chord diagrams in the open position, frets from the low E string: Am (x02210), Bdim (x2343x), E (022100).
iv v° I cadence in E Phrygian dominant: | Am | Bdim | E | E |

Phrygian dominant seventh chord progressions

With four-note chords the home chord becomes E7, E G# B D, and bII becomes Fmaj7. The twelve progressions below use only the seventh chords of the scale: E7, Fmaj7, G#dim7, Am(maj7), Bm7b5, Cmaj7#5 and Dm7 in E.

I7 bIImaj7 bvii7 bIImaj7: E7 Fmaj7 Dm7 Fmaj7 vamp

The first vamp with seventh chords. Dm7, D F A C, holds the whole F chord, so Dm7 to Fmaj7 changes a single note, D to E. Fmaj7 carries E, the root of the home chord, and its F, A and C fall a half step into E7.

| E7 | Fmaj7 | Dm7 | Fmaj7 |

E Phrygian dominant · I7 bIImaj7 bvii7

I7 bIImaj7 bvii7 bIImaj7 vamp in E Phrygian dominant

| E7 | Fmaj7 | Dm7 | Fmaj7 |

Guitar chord progression I7 bIImaj7 bvii7 bIImaj7 vamp in E Phrygian dominant, one bar each: E7 Fmaj7 Dm7 Fmaj7, with chord diagrams in the open position, frets from the low E string: E7 (020100), Fmaj7 (102210), Dm7 (xx0211).
I7 bIImaj7 bvii7 bIImaj7 vamp in E Phrygian dominant: | E7 | Fmaj7 | Dm7 | Fmaj7 |

iv(maj7) bIImaj7 I7 cadence: Am(maj7) Fmaj7 E7

Am(maj7), A C E G#, is the iv chord of the scale with its own major 7th, G#, which is also the 3rd of the home chord. It sounds dark and tense, and resolves through Fmaj7 to E7, held for the last two bars.

| Am(maj7) | Fmaj7 | E7 | E7 |

E Phrygian dominant · iv(maj7) bIImaj7 I7

iv(maj7) bIImaj7 I7 cadence in E Phrygian dominant

| Am(maj7) | Fmaj7 | E7 | E7 |

Guitar chord progression iv(maj7) bIImaj7 I7 cadence in E Phrygian dominant, one bar each: Am(maj7) Fmaj7 E7 E7, with chord diagrams in the open position, frets from the low E string: Am(maj7) (x02110), Fmaj7 (102210), E7 (020100).
iv(maj7) bIImaj7 I7 cadence in E Phrygian dominant: | Am(maj7) | Fmaj7 | E7 | E7 |

bvii7 bIImaj7 I7 cadence: Dm7 Fmaj7 E7

In A it is Gm7, Bbmaj7, A7, A7. Dm7 and Fmaj7 share three notes, F, A and C, so the cadence is smooth until the last move, where Fmaj7 falls into E7.

| Dm7 | Fmaj7 | E7 | E7 |

E Phrygian dominant · bvii7 bIImaj7 I7

bvii7 bIImaj7 I7 cadence in E Phrygian dominant

| Dm7 | Fmaj7 | E7 | E7 |

Guitar chord progression bvii7 bIImaj7 I7 cadence in E Phrygian dominant, one bar each: Dm7 Fmaj7 E7 E7, with chord diagrams in the open position, frets from the low E string: Dm7 (xx0211), Fmaj7 (102210), E7 (020100).
bvii7 bIImaj7 I7 cadence in E Phrygian dominant: | Dm7 | Fmaj7 | E7 | E7 |

Descending bass with seventh chords: Am(maj7) G#dim7 Fmaj7 E7

The bass line A, G#, F, E with four-note chords. G#dim7, G# B D F, has the notes of E7b9 without its E, so bar 2 already sounds like the home chord in its most tense form, and the Phrygian cadence, Fmaj7 to E7, releases it.

| Am(maj7) | G#dim7 | Fmaj7 | E7 |

E Phrygian dominant · iv(maj7) iii°7 bIImaj7 I7

Descending bass iv(maj7) iii°7 bIImaj7 I7 in E Phrygian dominant

| Am(maj7) | G#dim7 | Fmaj7 | E7 |

Guitar chord progression Descending bass iv(maj7) iii°7 bIImaj7 I7 in E Phrygian dominant, one bar each: Am(maj7) G#dim7 Fmaj7 E7, with chord diagrams in the open position, frets from the low E string: Am(maj7) (x02110), G#dim7 (4x343x), Fmaj7 (102210), E7 (020100).
Descending bass iv(maj7) iii°7 bIImaj7 I7 in E Phrygian dominant: | Am(maj7) | G#dim7 | Fmaj7 | E7 |

Rising bass I7 bIImaj7 iii°7 bIImaj7: E7 Fmaj7 G#dim7 Fmaj7

The climb E, F, G# with seventh chords. E7 and G#dim7 share G#, B and D, and G#dim7 adds F, the flat 9th of E, so bar 3 is the home sound at its strongest tension, released through Fmaj7.

| E7 | Fmaj7 | G#dim7 | Fmaj7 |

E Phrygian dominant · I7 bIImaj7 iii°7

Rising bass I7 bIImaj7 iii°7 bIImaj7 in E Phrygian dominant

| E7 | Fmaj7 | G#dim7 | Fmaj7 |

Guitar chord progression Rising bass I7 bIImaj7 iii°7 bIImaj7 in E Phrygian dominant, one bar each: E7 Fmaj7 G#dim7 Fmaj7, with chord diagrams in the open position, frets from the low E string: E7 (020100), Fmaj7 (102210), G#dim7 (4x343x).
Rising bass I7 bIImaj7 iii°7 bIImaj7 in E Phrygian dominant: | E7 | Fmaj7 | G#dim7 | Fmaj7 |

I7 iii°7 bIImaj7 I7: E7 G#dim7 Fmaj7 E7

From E7 to G#dim7 only one note moves: E rises a half step to F. The diminished chord then opens into Fmaj7, which falls back to E7. In A: A7, C#dim7, Bbmaj7, A7.

| E7 | G#dim7 | Fmaj7 | E7 |

E Phrygian dominant · I7 iii°7 bIImaj7

I7 iii°7 bIImaj7 I7 in E Phrygian dominant

| E7 | G#dim7 | Fmaj7 | E7 |

Guitar chord progression I7 iii°7 bIImaj7 I7 in E Phrygian dominant, one bar each: E7 G#dim7 Fmaj7 E7, with chord diagrams in the open position, frets from the low E string: E7 (020100), G#dim7 (4x343x), Fmaj7 (102210).
I7 iii°7 bIImaj7 I7 in E Phrygian dominant: | E7 | G#dim7 | Fmaj7 | E7 |

I7 iv(maj7) bvii7 bIImaj7 loop: E7 Am(maj7) Dm7 Fmaj7

The fourths loop with seventh chords: the roots climb E, A, D, then Fmaj7 leads back to E7. In A it is A7, Dm(maj7), Gm7, Bbmaj7. The G# of E7 stays in Am(maj7), so the 3rd of the home chord sounds through the first two bars.

| E7 | Am(maj7) | Dm7 | Fmaj7 |

E Phrygian dominant · I7 iv(maj7) bvii7 bIImaj7

I7 iv(maj7) bvii7 bIImaj7 loop in E Phrygian dominant

| E7 | Am(maj7) | Dm7 | Fmaj7 |

Guitar chord progression I7 iv(maj7) bvii7 bIImaj7 loop in E Phrygian dominant, one bar each: E7 Am(maj7) Dm7 Fmaj7, with chord diagrams in the open position, frets from the low E string: E7 (020100), Am(maj7) (x02110), Dm7 (xx0211), Fmaj7 (102210).
I7 iv(maj7) bvii7 bIImaj7 loop in E Phrygian dominant: | E7 | Am(maj7) | Dm7 | Fmaj7 |

I7 bVI+maj7 iv(maj7) I7: E7 Cmaj7#5 Am(maj7) E7

Cmaj7#5, C E G# B, is an E chord over a C in the bass: from E7 the notes E, G# and B stay and only D moves, down to C. Am(maj7) keeps C, E and G#, and the loop returns to E7. The G# never leaves, which keeps the major 3rd of the mode in the ear.

| E7 | Cmaj7#5 | Am(maj7) | E7 |

E Phrygian dominant · I7 bVI+maj7 iv(maj7)

I7 bVI+maj7 iv(maj7) I7 in E Phrygian dominant

| E7 | Cmaj7#5 | Am(maj7) | E7 |

Guitar chord progression I7 bVI+maj7 iv(maj7) I7 in E Phrygian dominant, one bar each: E7 Cmaj7#5 Am(maj7) E7, with chord diagrams in the open position, frets from the low E string: E7 (020100), Cmaj7#5 (x32100), Am(maj7) (x02110).
I7 bVI+maj7 iv(maj7) I7 in E Phrygian dominant: | E7 | Cmaj7#5 | Am(maj7) | E7 |

bVI+maj7 bIImaj7 I7 cadence: Cmaj7#5 Fmaj7 E7

Start on the augmented chord, an E chord over C, then Fmaj7 and the half step fall to E7, held for two bars. In A: Fmaj7#5, Bbmaj7, A7, A7.

| Cmaj7#5 | Fmaj7 | E7 | E7 |

E Phrygian dominant · bVI+maj7 bIImaj7 I7

bVI+maj7 bIImaj7 I7 cadence in E Phrygian dominant

| Cmaj7#5 | Fmaj7 | E7 | E7 |

Guitar chord progression bVI+maj7 bIImaj7 I7 cadence in E Phrygian dominant, one bar each: Cmaj7#5 Fmaj7 E7 E7, with chord diagrams in the open position, frets from the low E string: Cmaj7#5 (x32100), Fmaj7 (102210), E7 (020100).
bVI+maj7 bIImaj7 I7 cadence in E Phrygian dominant: | Cmaj7#5 | Fmaj7 | E7 | E7 |

bvii7 bVI+maj7 bIImaj7 I7: Dm7 Cmaj7#5 Fmaj7 E7

The bass steps down D, C, then moves up to F and falls a half step to E. Cmaj7#5 and Fmaj7 share C and E, and Fmaj7 to E7 is the Phrygian cadence with seventh chords.

| Dm7 | Cmaj7#5 | Fmaj7 | E7 |

E Phrygian dominant · bvii7 bVI+maj7 bIImaj7 I7

bvii7 bVI+maj7 bIImaj7 I7 in E Phrygian dominant

| Dm7 | Cmaj7#5 | Fmaj7 | E7 |

Guitar chord progression bvii7 bVI+maj7 bIImaj7 I7 in E Phrygian dominant, one bar each: Dm7 Cmaj7#5 Fmaj7 E7, with chord diagrams in the open position, frets from the low E string: Dm7 (xx0211), Cmaj7#5 (x32100), Fmaj7 (102210), E7 (020100).
bvii7 bVI+maj7 bIImaj7 I7 in E Phrygian dominant: | Dm7 | Cmaj7#5 | Fmaj7 | E7 |

iv(maj7) vø7 I7 cadence: Am(maj7) Bm7b5 E7

The bass climbs A, B, then falls a fifth to E. Bm7b5, B D F A, carries the flat 9th of E (F) and its 4th (A), and both fall a half step into E7: F to E, A to G#.

| Am(maj7) | Bm7b5 | E7 | E7 |

E Phrygian dominant · iv(maj7) vø7 I7

iv(maj7) vø7 I7 cadence in E Phrygian dominant

| Am(maj7) | Bm7b5 | E7 | E7 |

Guitar chord progression iv(maj7) vø7 I7 cadence in E Phrygian dominant, one bar each: Am(maj7) Bm7b5 E7 E7, with chord diagrams in the open position, frets from the low E string: Am(maj7) (x02110), Bm7b5 (x20201), E7 (020100).
iv(maj7) vø7 I7 cadence in E Phrygian dominant: | Am(maj7) | Bm7b5 | E7 | E7 |

I7 bIImaj7 iv(maj7) vø7 turnaround: E7 Fmaj7 Am(maj7) Bm7b5

A four-bar turnaround that starts on the home chord and ends on Bm7b5, whose F and A fall a half step into the E7 of the next bar. Use it as the loop for a long improvisation: in A it is A7, Bbmaj7, Dm(maj7), Em7b5.

| E7 | Fmaj7 | Am(maj7) | Bm7b5 |

E Phrygian dominant · I7 bIImaj7 iv(maj7) vø7

I7 bIImaj7 iv(maj7) vø7 turnaround in E Phrygian dominant

| E7 | Fmaj7 | Am(maj7) | Bm7b5 |

Guitar chord progression I7 bIImaj7 iv(maj7) vø7 turnaround in E Phrygian dominant, one bar each: E7 Fmaj7 Am(maj7) Bm7b5, with chord diagrams in the open position, frets from the low E string: E7 (020100), Fmaj7 (102210), Am(maj7) (x02110), Bm7b5 (x20201).
I7 bIImaj7 iv(maj7) vø7 turnaround in E Phrygian dominant: | E7 | Fmaj7 | Am(maj7) | Bm7b5 |

How to practise Phrygian dominant chord progressions on guitar

Start with the iv bII I cadence in E in region 1 at a slow tempo: three chords, and the F to E move is the heart of the scale. Then change one thing at a time: the key, then the region, then Full neck with the roots on the 6th, 5th and 4th string, so each progression sits under your hand anywhere on the neck.

When the changes are easy, play the scale over them. Every chord on this page belongs to the Phrygian dominant, so the same scale fits every bar. Aim for the 3rd of each chord as it arrives, G# over E, A over F, C over Am, and turn on Intervals to see where those notes are.

Phrygian dominant chord progressions in all 12 keys

For every key: the 24 progressions of this page, one bar per chord, with their numerals. The players above play each of them in any key.

C Phrygian dominant chord progressions

In C Phrygian dominant every progression comes home to C, and the bII chord Db falls a half step to it. The descending bass runs Fm Edim Db C.

C scaleC open positionC positionsC fretboardC one stringC double stopsC chordsC inversionsC drop 2C arpeggiosC progressionsC backing track

Chord progressions of C phrygian dominant, one bar per chord
ProgressionChordsNumerals
I bII bvii bII vamp| C | Db | Bbm | Db |I bII bvii
I bII iv bII vamp| C | Db | Fm | Db |I bII iv
iv bII I cadence| Fm | Db | C | C |iv bII I
bvii bII I cadence| Bbm | Db | C | C |bvii bII I
Descending bass iv iii° bII I| Fm | Edim | Db | C |iv iii° bII I
Rising bass I bII iii° bII| C | Db | Edim | Db |I bII iii°
Rising bass I bII iii° iv| C | Db | Edim | Fm |I bII iii° iv
iv bvii bII I| Fm | Bbm | Db | C |iv bvii bII I
I iv bvii bII loop| C | Fm | Bbm | Db |I iv bvii bII
I bVI+ bII I| C | Ab+ | Db | C |I bVI+ bII
I bVI+ iv I| C | Ab+ | Fm | C |I bVI+ iv
iv v° I cadence| Fm | Gdim | C | C |iv v° I
I7 bIImaj7 bvii7 bIImaj7 vamp| C7 | Dbmaj7 | Bbm7 | Dbmaj7 |I7 bIImaj7 bvii7
iv(maj7) bIImaj7 I7 cadence| Fm(maj7) | Dbmaj7 | C7 | C7 |iv(maj7) bIImaj7 I7
bvii7 bIImaj7 I7 cadence| Bbm7 | Dbmaj7 | C7 | C7 |bvii7 bIImaj7 I7
Descending bass iv(maj7) iii°7 bIImaj7 I7| Fm(maj7) | Edim7 | Dbmaj7 | C7 |iv(maj7) iii°7 bIImaj7 I7
Rising bass I7 bIImaj7 iii°7 bIImaj7| C7 | Dbmaj7 | Edim7 | Dbmaj7 |I7 bIImaj7 iii°7
I7 iii°7 bIImaj7 I7| C7 | Edim7 | Dbmaj7 | C7 |I7 iii°7 bIImaj7
I7 iv(maj7) bvii7 bIImaj7 loop| C7 | Fm(maj7) | Bbm7 | Dbmaj7 |I7 iv(maj7) bvii7 bIImaj7
I7 bVI+maj7 iv(maj7) I7| C7 | Abmaj7#5 | Fm(maj7) | C7 |I7 bVI+maj7 iv(maj7)
bVI+maj7 bIImaj7 I7 cadence| Abmaj7#5 | Dbmaj7 | C7 | C7 |bVI+maj7 bIImaj7 I7
bvii7 bVI+maj7 bIImaj7 I7| Bbm7 | Abmaj7#5 | Dbmaj7 | C7 |bvii7 bVI+maj7 bIImaj7 I7
iv(maj7) vø7 I7 cadence| Fm(maj7) | Gm7b5 | C7 | C7 |iv(maj7) vø7 I7
I7 bIImaj7 iv(maj7) vø7 turnaround| C7 | Dbmaj7 | Fm(maj7) | Gm7b5 |I7 bIImaj7 iv(maj7) vø7

C# Phrygian dominant chord progressions

In C# Phrygian dominant every progression comes home to C#, and the bII chord D falls a half step to it. The descending bass runs F#m E#dim D C#.

C# scaleC# open positionC# positionsC# fretboardC# one stringC# double stopsC# chordsC# inversionsC# drop 2C# arpeggiosC# progressionsC# backing track

Chord progressions of C# phrygian dominant, one bar per chord
ProgressionChordsNumerals
I bII bvii bII vamp| C# | D | Bm | D |I bII bvii
I bII iv bII vamp| C# | D | F#m | D |I bII iv
iv bII I cadence| F#m | D | C# | C# |iv bII I
bvii bII I cadence| Bm | D | C# | C# |bvii bII I
Descending bass iv iii° bII I| F#m | E#dim | D | C# |iv iii° bII I
Rising bass I bII iii° bII| C# | D | E#dim | D |I bII iii°
Rising bass I bII iii° iv| C# | D | E#dim | F#m |I bII iii° iv
iv bvii bII I| F#m | Bm | D | C# |iv bvii bII I
I iv bvii bII loop| C# | F#m | Bm | D |I iv bvii bII
I bVI+ bII I| C# | A+ | D | C# |I bVI+ bII
I bVI+ iv I| C# | A+ | F#m | C# |I bVI+ iv
iv v° I cadence| F#m | G#dim | C# | C# |iv v° I
I7 bIImaj7 bvii7 bIImaj7 vamp| C#7 | Dmaj7 | Bm7 | Dmaj7 |I7 bIImaj7 bvii7
iv(maj7) bIImaj7 I7 cadence| F#m(maj7) | Dmaj7 | C#7 | C#7 |iv(maj7) bIImaj7 I7
bvii7 bIImaj7 I7 cadence| Bm7 | Dmaj7 | C#7 | C#7 |bvii7 bIImaj7 I7
Descending bass iv(maj7) iii°7 bIImaj7 I7| F#m(maj7) | E#dim7 | Dmaj7 | C#7 |iv(maj7) iii°7 bIImaj7 I7
Rising bass I7 bIImaj7 iii°7 bIImaj7| C#7 | Dmaj7 | E#dim7 | Dmaj7 |I7 bIImaj7 iii°7
I7 iii°7 bIImaj7 I7| C#7 | E#dim7 | Dmaj7 | C#7 |I7 iii°7 bIImaj7
I7 iv(maj7) bvii7 bIImaj7 loop| C#7 | F#m(maj7) | Bm7 | Dmaj7 |I7 iv(maj7) bvii7 bIImaj7
I7 bVI+maj7 iv(maj7) I7| C#7 | Amaj7#5 | F#m(maj7) | C#7 |I7 bVI+maj7 iv(maj7)
bVI+maj7 bIImaj7 I7 cadence| Amaj7#5 | Dmaj7 | C#7 | C#7 |bVI+maj7 bIImaj7 I7
bvii7 bVI+maj7 bIImaj7 I7| Bm7 | Amaj7#5 | Dmaj7 | C#7 |bvii7 bVI+maj7 bIImaj7 I7
iv(maj7) vø7 I7 cadence| F#m(maj7) | G#m7b5 | C#7 | C#7 |iv(maj7) vø7 I7
I7 bIImaj7 iv(maj7) vø7 turnaround| C#7 | Dmaj7 | F#m(maj7) | G#m7b5 |I7 bIImaj7 iv(maj7) vø7

D Phrygian dominant chord progressions

In D Phrygian dominant every progression comes home to D, and the bII chord Eb falls a half step to it. The descending bass runs Gm F#dim Eb D.

D scaleD open positionD positionsD fretboardD one stringD double stopsD chordsD inversionsD drop 2D arpeggiosD progressionsD backing track

Chord progressions of D phrygian dominant, one bar per chord
ProgressionChordsNumerals
I bII bvii bII vamp| D | Eb | Cm | Eb |I bII bvii
I bII iv bII vamp| D | Eb | Gm | Eb |I bII iv
iv bII I cadence| Gm | Eb | D | D |iv bII I
bvii bII I cadence| Cm | Eb | D | D |bvii bII I
Descending bass iv iii° bII I| Gm | F#dim | Eb | D |iv iii° bII I
Rising bass I bII iii° bII| D | Eb | F#dim | Eb |I bII iii°
Rising bass I bII iii° iv| D | Eb | F#dim | Gm |I bII iii° iv
iv bvii bII I| Gm | Cm | Eb | D |iv bvii bII I
I iv bvii bII loop| D | Gm | Cm | Eb |I iv bvii bII
I bVI+ bII I| D | Bb+ | Eb | D |I bVI+ bII
I bVI+ iv I| D | Bb+ | Gm | D |I bVI+ iv
iv v° I cadence| Gm | Adim | D | D |iv v° I
I7 bIImaj7 bvii7 bIImaj7 vamp| D7 | Ebmaj7 | Cm7 | Ebmaj7 |I7 bIImaj7 bvii7
iv(maj7) bIImaj7 I7 cadence| Gm(maj7) | Ebmaj7 | D7 | D7 |iv(maj7) bIImaj7 I7
bvii7 bIImaj7 I7 cadence| Cm7 | Ebmaj7 | D7 | D7 |bvii7 bIImaj7 I7
Descending bass iv(maj7) iii°7 bIImaj7 I7| Gm(maj7) | F#dim7 | Ebmaj7 | D7 |iv(maj7) iii°7 bIImaj7 I7
Rising bass I7 bIImaj7 iii°7 bIImaj7| D7 | Ebmaj7 | F#dim7 | Ebmaj7 |I7 bIImaj7 iii°7
I7 iii°7 bIImaj7 I7| D7 | F#dim7 | Ebmaj7 | D7 |I7 iii°7 bIImaj7
I7 iv(maj7) bvii7 bIImaj7 loop| D7 | Gm(maj7) | Cm7 | Ebmaj7 |I7 iv(maj7) bvii7 bIImaj7
I7 bVI+maj7 iv(maj7) I7| D7 | Bbmaj7#5 | Gm(maj7) | D7 |I7 bVI+maj7 iv(maj7)
bVI+maj7 bIImaj7 I7 cadence| Bbmaj7#5 | Ebmaj7 | D7 | D7 |bVI+maj7 bIImaj7 I7
bvii7 bVI+maj7 bIImaj7 I7| Cm7 | Bbmaj7#5 | Ebmaj7 | D7 |bvii7 bVI+maj7 bIImaj7 I7
iv(maj7) vø7 I7 cadence| Gm(maj7) | Am7b5 | D7 | D7 |iv(maj7) vø7 I7
I7 bIImaj7 iv(maj7) vø7 turnaround| D7 | Ebmaj7 | Gm(maj7) | Am7b5 |I7 bIImaj7 iv(maj7) vø7

Eb Phrygian dominant chord progressions

In Eb Phrygian dominant every progression comes home to Eb, and the bII chord Fb falls a half step to it. The descending bass runs Abm Gdim Fb Eb.

Eb scaleEb open positionEb positionsEb fretboardEb one stringEb double stopsEb chordsEb inversionsEb drop 2Eb arpeggiosEb progressionsEb backing track

Chord progressions of Eb phrygian dominant, one bar per chord
ProgressionChordsNumerals
I bII bvii bII vamp| Eb | Fb | Dbm | Fb |I bII bvii
I bII iv bII vamp| Eb | Fb | Abm | Fb |I bII iv
iv bII I cadence| Abm | Fb | Eb | Eb |iv bII I
bvii bII I cadence| Dbm | Fb | Eb | Eb |bvii bII I
Descending bass iv iii° bII I| Abm | Gdim | Fb | Eb |iv iii° bII I
Rising bass I bII iii° bII| Eb | Fb | Gdim | Fb |I bII iii°
Rising bass I bII iii° iv| Eb | Fb | Gdim | Abm |I bII iii° iv
iv bvii bII I| Abm | Dbm | Fb | Eb |iv bvii bII I
I iv bvii bII loop| Eb | Abm | Dbm | Fb |I iv bvii bII
I bVI+ bII I| Eb | Cb+ | Fb | Eb |I bVI+ bII
I bVI+ iv I| Eb | Cb+ | Abm | Eb |I bVI+ iv
iv v° I cadence| Abm | Bbdim | Eb | Eb |iv v° I
I7 bIImaj7 bvii7 bIImaj7 vamp| Eb7 | Fbmaj7 | Dbm7 | Fbmaj7 |I7 bIImaj7 bvii7
iv(maj7) bIImaj7 I7 cadence| Abm(maj7) | Fbmaj7 | Eb7 | Eb7 |iv(maj7) bIImaj7 I7
bvii7 bIImaj7 I7 cadence| Dbm7 | Fbmaj7 | Eb7 | Eb7 |bvii7 bIImaj7 I7
Descending bass iv(maj7) iii°7 bIImaj7 I7| Abm(maj7) | Gdim7 | Fbmaj7 | Eb7 |iv(maj7) iii°7 bIImaj7 I7
Rising bass I7 bIImaj7 iii°7 bIImaj7| Eb7 | Fbmaj7 | Gdim7 | Fbmaj7 |I7 bIImaj7 iii°7
I7 iii°7 bIImaj7 I7| Eb7 | Gdim7 | Fbmaj7 | Eb7 |I7 iii°7 bIImaj7
I7 iv(maj7) bvii7 bIImaj7 loop| Eb7 | Abm(maj7) | Dbm7 | Fbmaj7 |I7 iv(maj7) bvii7 bIImaj7
I7 bVI+maj7 iv(maj7) I7| Eb7 | Cbmaj7#5 | Abm(maj7) | Eb7 |I7 bVI+maj7 iv(maj7)
bVI+maj7 bIImaj7 I7 cadence| Cbmaj7#5 | Fbmaj7 | Eb7 | Eb7 |bVI+maj7 bIImaj7 I7
bvii7 bVI+maj7 bIImaj7 I7| Dbm7 | Cbmaj7#5 | Fbmaj7 | Eb7 |bvii7 bVI+maj7 bIImaj7 I7
iv(maj7) vø7 I7 cadence| Abm(maj7) | Bbm7b5 | Eb7 | Eb7 |iv(maj7) vø7 I7
I7 bIImaj7 iv(maj7) vø7 turnaround| Eb7 | Fbmaj7 | Abm(maj7) | Bbm7b5 |I7 bIImaj7 iv(maj7) vø7

E Phrygian dominant chord progressions

In E Phrygian dominant every progression comes home to E, and the bII chord F falls a half step to it. The descending bass runs Am G#dim F E.

E scaleE open positionE positionsE fretboardE one stringE double stopsE chordsE inversionsE drop 2E arpeggiosE progressionsE licksE ornamentsE flamenco techniqueE backing track

Chord progressions of E phrygian dominant, one bar per chord
ProgressionChordsNumerals
I bII bvii bII vamp| E | F | Dm | F |I bII bvii
I bII iv bII vamp| E | F | Am | F |I bII iv
iv bII I cadence| Am | F | E | E |iv bII I
bvii bII I cadence| Dm | F | E | E |bvii bII I
Descending bass iv iii° bII I| Am | G#dim | F | E |iv iii° bII I
Rising bass I bII iii° bII| E | F | G#dim | F |I bII iii°
Rising bass I bII iii° iv| E | F | G#dim | Am |I bII iii° iv
iv bvii bII I| Am | Dm | F | E |iv bvii bII I
I iv bvii bII loop| E | Am | Dm | F |I iv bvii bII
I bVI+ bII I| E | C+ | F | E |I bVI+ bII
I bVI+ iv I| E | C+ | Am | E |I bVI+ iv
iv v° I cadence| Am | Bdim | E | E |iv v° I
I7 bIImaj7 bvii7 bIImaj7 vamp| E7 | Fmaj7 | Dm7 | Fmaj7 |I7 bIImaj7 bvii7
iv(maj7) bIImaj7 I7 cadence| Am(maj7) | Fmaj7 | E7 | E7 |iv(maj7) bIImaj7 I7
bvii7 bIImaj7 I7 cadence| Dm7 | Fmaj7 | E7 | E7 |bvii7 bIImaj7 I7
Descending bass iv(maj7) iii°7 bIImaj7 I7| Am(maj7) | G#dim7 | Fmaj7 | E7 |iv(maj7) iii°7 bIImaj7 I7
Rising bass I7 bIImaj7 iii°7 bIImaj7| E7 | Fmaj7 | G#dim7 | Fmaj7 |I7 bIImaj7 iii°7
I7 iii°7 bIImaj7 I7| E7 | G#dim7 | Fmaj7 | E7 |I7 iii°7 bIImaj7
I7 iv(maj7) bvii7 bIImaj7 loop| E7 | Am(maj7) | Dm7 | Fmaj7 |I7 iv(maj7) bvii7 bIImaj7
I7 bVI+maj7 iv(maj7) I7| E7 | Cmaj7#5 | Am(maj7) | E7 |I7 bVI+maj7 iv(maj7)
bVI+maj7 bIImaj7 I7 cadence| Cmaj7#5 | Fmaj7 | E7 | E7 |bVI+maj7 bIImaj7 I7
bvii7 bVI+maj7 bIImaj7 I7| Dm7 | Cmaj7#5 | Fmaj7 | E7 |bvii7 bVI+maj7 bIImaj7 I7
iv(maj7) vø7 I7 cadence| Am(maj7) | Bm7b5 | E7 | E7 |iv(maj7) vø7 I7
I7 bIImaj7 iv(maj7) vø7 turnaround| E7 | Fmaj7 | Am(maj7) | Bm7b5 |I7 bIImaj7 iv(maj7) vø7

F Phrygian dominant chord progressions

In F Phrygian dominant every progression comes home to F, and the bII chord Gb falls a half step to it. The descending bass runs Bbm Adim Gb F.

F scaleF open positionF positionsF fretboardF one stringF double stopsF chordsF inversionsF drop 2F arpeggiosF progressionsF backing track

Chord progressions of F phrygian dominant, one bar per chord
ProgressionChordsNumerals
I bII bvii bII vamp| F | Gb | Ebm | Gb |I bII bvii
I bII iv bII vamp| F | Gb | Bbm | Gb |I bII iv
iv bII I cadence| Bbm | Gb | F | F |iv bII I
bvii bII I cadence| Ebm | Gb | F | F |bvii bII I
Descending bass iv iii° bII I| Bbm | Adim | Gb | F |iv iii° bII I
Rising bass I bII iii° bII| F | Gb | Adim | Gb |I bII iii°
Rising bass I bII iii° iv| F | Gb | Adim | Bbm |I bII iii° iv
iv bvii bII I| Bbm | Ebm | Gb | F |iv bvii bII I
I iv bvii bII loop| F | Bbm | Ebm | Gb |I iv bvii bII
I bVI+ bII I| F | Db+ | Gb | F |I bVI+ bII
I bVI+ iv I| F | Db+ | Bbm | F |I bVI+ iv
iv v° I cadence| Bbm | Cdim | F | F |iv v° I
I7 bIImaj7 bvii7 bIImaj7 vamp| F7 | Gbmaj7 | Ebm7 | Gbmaj7 |I7 bIImaj7 bvii7
iv(maj7) bIImaj7 I7 cadence| Bbm(maj7) | Gbmaj7 | F7 | F7 |iv(maj7) bIImaj7 I7
bvii7 bIImaj7 I7 cadence| Ebm7 | Gbmaj7 | F7 | F7 |bvii7 bIImaj7 I7
Descending bass iv(maj7) iii°7 bIImaj7 I7| Bbm(maj7) | Adim7 | Gbmaj7 | F7 |iv(maj7) iii°7 bIImaj7 I7
Rising bass I7 bIImaj7 iii°7 bIImaj7| F7 | Gbmaj7 | Adim7 | Gbmaj7 |I7 bIImaj7 iii°7
I7 iii°7 bIImaj7 I7| F7 | Adim7 | Gbmaj7 | F7 |I7 iii°7 bIImaj7
I7 iv(maj7) bvii7 bIImaj7 loop| F7 | Bbm(maj7) | Ebm7 | Gbmaj7 |I7 iv(maj7) bvii7 bIImaj7
I7 bVI+maj7 iv(maj7) I7| F7 | Dbmaj7#5 | Bbm(maj7) | F7 |I7 bVI+maj7 iv(maj7)
bVI+maj7 bIImaj7 I7 cadence| Dbmaj7#5 | Gbmaj7 | F7 | F7 |bVI+maj7 bIImaj7 I7
bvii7 bVI+maj7 bIImaj7 I7| Ebm7 | Dbmaj7#5 | Gbmaj7 | F7 |bvii7 bVI+maj7 bIImaj7 I7
iv(maj7) vø7 I7 cadence| Bbm(maj7) | Cm7b5 | F7 | F7 |iv(maj7) vø7 I7
I7 bIImaj7 iv(maj7) vø7 turnaround| F7 | Gbmaj7 | Bbm(maj7) | Cm7b5 |I7 bIImaj7 iv(maj7) vø7

F# Phrygian dominant chord progressions

In F# Phrygian dominant every progression comes home to F#, and the bII chord G falls a half step to it. The descending bass runs Bm A#dim G F#.

F# scaleF# open positionF# positionsF# fretboardF# one stringF# double stopsF# chordsF# inversionsF# drop 2F# arpeggiosF# progressionsF# backing track

Chord progressions of F# phrygian dominant, one bar per chord
ProgressionChordsNumerals
I bII bvii bII vamp| F# | G | Em | G |I bII bvii
I bII iv bII vamp| F# | G | Bm | G |I bII iv
iv bII I cadence| Bm | G | F# | F# |iv bII I
bvii bII I cadence| Em | G | F# | F# |bvii bII I
Descending bass iv iii° bII I| Bm | A#dim | G | F# |iv iii° bII I
Rising bass I bII iii° bII| F# | G | A#dim | G |I bII iii°
Rising bass I bII iii° iv| F# | G | A#dim | Bm |I bII iii° iv
iv bvii bII I| Bm | Em | G | F# |iv bvii bII I
I iv bvii bII loop| F# | Bm | Em | G |I iv bvii bII
I bVI+ bII I| F# | D+ | G | F# |I bVI+ bII
I bVI+ iv I| F# | D+ | Bm | F# |I bVI+ iv
iv v° I cadence| Bm | C#dim | F# | F# |iv v° I
I7 bIImaj7 bvii7 bIImaj7 vamp| F#7 | Gmaj7 | Em7 | Gmaj7 |I7 bIImaj7 bvii7
iv(maj7) bIImaj7 I7 cadence| Bm(maj7) | Gmaj7 | F#7 | F#7 |iv(maj7) bIImaj7 I7
bvii7 bIImaj7 I7 cadence| Em7 | Gmaj7 | F#7 | F#7 |bvii7 bIImaj7 I7
Descending bass iv(maj7) iii°7 bIImaj7 I7| Bm(maj7) | A#dim7 | Gmaj7 | F#7 |iv(maj7) iii°7 bIImaj7 I7
Rising bass I7 bIImaj7 iii°7 bIImaj7| F#7 | Gmaj7 | A#dim7 | Gmaj7 |I7 bIImaj7 iii°7
I7 iii°7 bIImaj7 I7| F#7 | A#dim7 | Gmaj7 | F#7 |I7 iii°7 bIImaj7
I7 iv(maj7) bvii7 bIImaj7 loop| F#7 | Bm(maj7) | Em7 | Gmaj7 |I7 iv(maj7) bvii7 bIImaj7
I7 bVI+maj7 iv(maj7) I7| F#7 | Dmaj7#5 | Bm(maj7) | F#7 |I7 bVI+maj7 iv(maj7)
bVI+maj7 bIImaj7 I7 cadence| Dmaj7#5 | Gmaj7 | F#7 | F#7 |bVI+maj7 bIImaj7 I7
bvii7 bVI+maj7 bIImaj7 I7| Em7 | Dmaj7#5 | Gmaj7 | F#7 |bvii7 bVI+maj7 bIImaj7 I7
iv(maj7) vø7 I7 cadence| Bm(maj7) | C#m7b5 | F#7 | F#7 |iv(maj7) vø7 I7
I7 bIImaj7 iv(maj7) vø7 turnaround| F#7 | Gmaj7 | Bm(maj7) | C#m7b5 |I7 bIImaj7 iv(maj7) vø7

G Phrygian dominant chord progressions

In G Phrygian dominant every progression comes home to G, and the bII chord Ab falls a half step to it. The descending bass runs Cm Bdim Ab G.

G scaleG open positionG positionsG fretboardG one stringG double stopsG chordsG inversionsG drop 2G arpeggiosG progressionsG backing track

Chord progressions of G phrygian dominant, one bar per chord
ProgressionChordsNumerals
I bII bvii bII vamp| G | Ab | Fm | Ab |I bII bvii
I bII iv bII vamp| G | Ab | Cm | Ab |I bII iv
iv bII I cadence| Cm | Ab | G | G |iv bII I
bvii bII I cadence| Fm | Ab | G | G |bvii bII I
Descending bass iv iii° bII I| Cm | Bdim | Ab | G |iv iii° bII I
Rising bass I bII iii° bII| G | Ab | Bdim | Ab |I bII iii°
Rising bass I bII iii° iv| G | Ab | Bdim | Cm |I bII iii° iv
iv bvii bII I| Cm | Fm | Ab | G |iv bvii bII I
I iv bvii bII loop| G | Cm | Fm | Ab |I iv bvii bII
I bVI+ bII I| G | Eb+ | Ab | G |I bVI+ bII
I bVI+ iv I| G | Eb+ | Cm | G |I bVI+ iv
iv v° I cadence| Cm | Ddim | G | G |iv v° I
I7 bIImaj7 bvii7 bIImaj7 vamp| G7 | Abmaj7 | Fm7 | Abmaj7 |I7 bIImaj7 bvii7
iv(maj7) bIImaj7 I7 cadence| Cm(maj7) | Abmaj7 | G7 | G7 |iv(maj7) bIImaj7 I7
bvii7 bIImaj7 I7 cadence| Fm7 | Abmaj7 | G7 | G7 |bvii7 bIImaj7 I7
Descending bass iv(maj7) iii°7 bIImaj7 I7| Cm(maj7) | Bdim7 | Abmaj7 | G7 |iv(maj7) iii°7 bIImaj7 I7
Rising bass I7 bIImaj7 iii°7 bIImaj7| G7 | Abmaj7 | Bdim7 | Abmaj7 |I7 bIImaj7 iii°7
I7 iii°7 bIImaj7 I7| G7 | Bdim7 | Abmaj7 | G7 |I7 iii°7 bIImaj7
I7 iv(maj7) bvii7 bIImaj7 loop| G7 | Cm(maj7) | Fm7 | Abmaj7 |I7 iv(maj7) bvii7 bIImaj7
I7 bVI+maj7 iv(maj7) I7| G7 | Ebmaj7#5 | Cm(maj7) | G7 |I7 bVI+maj7 iv(maj7)
bVI+maj7 bIImaj7 I7 cadence| Ebmaj7#5 | Abmaj7 | G7 | G7 |bVI+maj7 bIImaj7 I7
bvii7 bVI+maj7 bIImaj7 I7| Fm7 | Ebmaj7#5 | Abmaj7 | G7 |bvii7 bVI+maj7 bIImaj7 I7
iv(maj7) vø7 I7 cadence| Cm(maj7) | Dm7b5 | G7 | G7 |iv(maj7) vø7 I7
I7 bIImaj7 iv(maj7) vø7 turnaround| G7 | Abmaj7 | Cm(maj7) | Dm7b5 |I7 bIImaj7 iv(maj7) vø7

G# Phrygian dominant chord progressions

In G# Phrygian dominant every progression comes home to G#, and the bII chord A falls a half step to it. The descending bass runs C#m B#dim A G#.

G# scaleG# open positionG# positionsG# fretboardG# one stringG# double stopsG# chordsG# inversionsG# drop 2G# arpeggiosG# progressionsG# backing track

Chord progressions of G# phrygian dominant, one bar per chord
ProgressionChordsNumerals
I bII bvii bII vamp| G# | A | F#m | A |I bII bvii
I bII iv bII vamp| G# | A | C#m | A |I bII iv
iv bII I cadence| C#m | A | G# | G# |iv bII I
bvii bII I cadence| F#m | A | G# | G# |bvii bII I
Descending bass iv iii° bII I| C#m | B#dim | A | G# |iv iii° bII I
Rising bass I bII iii° bII| G# | A | B#dim | A |I bII iii°
Rising bass I bII iii° iv| G# | A | B#dim | C#m |I bII iii° iv
iv bvii bII I| C#m | F#m | A | G# |iv bvii bII I
I iv bvii bII loop| G# | C#m | F#m | A |I iv bvii bII
I bVI+ bII I| G# | E+ | A | G# |I bVI+ bII
I bVI+ iv I| G# | E+ | C#m | G# |I bVI+ iv
iv v° I cadence| C#m | D#dim | G# | G# |iv v° I
I7 bIImaj7 bvii7 bIImaj7 vamp| G#7 | Amaj7 | F#m7 | Amaj7 |I7 bIImaj7 bvii7
iv(maj7) bIImaj7 I7 cadence| C#m(maj7) | Amaj7 | G#7 | G#7 |iv(maj7) bIImaj7 I7
bvii7 bIImaj7 I7 cadence| F#m7 | Amaj7 | G#7 | G#7 |bvii7 bIImaj7 I7
Descending bass iv(maj7) iii°7 bIImaj7 I7| C#m(maj7) | B#dim7 | Amaj7 | G#7 |iv(maj7) iii°7 bIImaj7 I7
Rising bass I7 bIImaj7 iii°7 bIImaj7| G#7 | Amaj7 | B#dim7 | Amaj7 |I7 bIImaj7 iii°7
I7 iii°7 bIImaj7 I7| G#7 | B#dim7 | Amaj7 | G#7 |I7 iii°7 bIImaj7
I7 iv(maj7) bvii7 bIImaj7 loop| G#7 | C#m(maj7) | F#m7 | Amaj7 |I7 iv(maj7) bvii7 bIImaj7
I7 bVI+maj7 iv(maj7) I7| G#7 | Emaj7#5 | C#m(maj7) | G#7 |I7 bVI+maj7 iv(maj7)
bVI+maj7 bIImaj7 I7 cadence| Emaj7#5 | Amaj7 | G#7 | G#7 |bVI+maj7 bIImaj7 I7
bvii7 bVI+maj7 bIImaj7 I7| F#m7 | Emaj7#5 | Amaj7 | G#7 |bvii7 bVI+maj7 bIImaj7 I7
iv(maj7) vø7 I7 cadence| C#m(maj7) | D#m7b5 | G#7 | G#7 |iv(maj7) vø7 I7
I7 bIImaj7 iv(maj7) vø7 turnaround| G#7 | Amaj7 | C#m(maj7) | D#m7b5 |I7 bIImaj7 iv(maj7) vø7

A Phrygian dominant chord progressions

In A Phrygian dominant every progression comes home to A, and the bII chord Bb falls a half step to it. The descending bass runs Dm C#dim Bb A.

A scaleA open positionA positionsA fretboardA one stringA double stopsA chordsA inversionsA drop 2A arpeggiosA progressionsA licksA ornamentsA flamenco techniqueA backing track

Chord progressions of A phrygian dominant, one bar per chord
ProgressionChordsNumerals
I bII bvii bII vamp| A | Bb | Gm | Bb |I bII bvii
I bII iv bII vamp| A | Bb | Dm | Bb |I bII iv
iv bII I cadence| Dm | Bb | A | A |iv bII I
bvii bII I cadence| Gm | Bb | A | A |bvii bII I
Descending bass iv iii° bII I| Dm | C#dim | Bb | A |iv iii° bII I
Rising bass I bII iii° bII| A | Bb | C#dim | Bb |I bII iii°
Rising bass I bII iii° iv| A | Bb | C#dim | Dm |I bII iii° iv
iv bvii bII I| Dm | Gm | Bb | A |iv bvii bII I
I iv bvii bII loop| A | Dm | Gm | Bb |I iv bvii bII
I bVI+ bII I| A | F+ | Bb | A |I bVI+ bII
I bVI+ iv I| A | F+ | Dm | A |I bVI+ iv
iv v° I cadence| Dm | Edim | A | A |iv v° I
I7 bIImaj7 bvii7 bIImaj7 vamp| A7 | Bbmaj7 | Gm7 | Bbmaj7 |I7 bIImaj7 bvii7
iv(maj7) bIImaj7 I7 cadence| Dm(maj7) | Bbmaj7 | A7 | A7 |iv(maj7) bIImaj7 I7
bvii7 bIImaj7 I7 cadence| Gm7 | Bbmaj7 | A7 | A7 |bvii7 bIImaj7 I7
Descending bass iv(maj7) iii°7 bIImaj7 I7| Dm(maj7) | C#dim7 | Bbmaj7 | A7 |iv(maj7) iii°7 bIImaj7 I7
Rising bass I7 bIImaj7 iii°7 bIImaj7| A7 | Bbmaj7 | C#dim7 | Bbmaj7 |I7 bIImaj7 iii°7
I7 iii°7 bIImaj7 I7| A7 | C#dim7 | Bbmaj7 | A7 |I7 iii°7 bIImaj7
I7 iv(maj7) bvii7 bIImaj7 loop| A7 | Dm(maj7) | Gm7 | Bbmaj7 |I7 iv(maj7) bvii7 bIImaj7
I7 bVI+maj7 iv(maj7) I7| A7 | Fmaj7#5 | Dm(maj7) | A7 |I7 bVI+maj7 iv(maj7)
bVI+maj7 bIImaj7 I7 cadence| Fmaj7#5 | Bbmaj7 | A7 | A7 |bVI+maj7 bIImaj7 I7
bvii7 bVI+maj7 bIImaj7 I7| Gm7 | Fmaj7#5 | Bbmaj7 | A7 |bvii7 bVI+maj7 bIImaj7 I7
iv(maj7) vø7 I7 cadence| Dm(maj7) | Em7b5 | A7 | A7 |iv(maj7) vø7 I7
I7 bIImaj7 iv(maj7) vø7 turnaround| A7 | Bbmaj7 | Dm(maj7) | Em7b5 |I7 bIImaj7 iv(maj7) vø7

Bb Phrygian dominant chord progressions

In Bb Phrygian dominant every progression comes home to Bb, and the bII chord Cb falls a half step to it. The descending bass runs Ebm Ddim Cb Bb.

Bb scaleBb open positionBb positionsBb fretboardBb one stringBb double stopsBb chordsBb inversionsBb drop 2Bb arpeggiosBb progressionsBb backing track

Chord progressions of Bb phrygian dominant, one bar per chord
ProgressionChordsNumerals
I bII bvii bII vamp| Bb | Cb | Abm | Cb |I bII bvii
I bII iv bII vamp| Bb | Cb | Ebm | Cb |I bII iv
iv bII I cadence| Ebm | Cb | Bb | Bb |iv bII I
bvii bII I cadence| Abm | Cb | Bb | Bb |bvii bII I
Descending bass iv iii° bII I| Ebm | Ddim | Cb | Bb |iv iii° bII I
Rising bass I bII iii° bII| Bb | Cb | Ddim | Cb |I bII iii°
Rising bass I bII iii° iv| Bb | Cb | Ddim | Ebm |I bII iii° iv
iv bvii bII I| Ebm | Abm | Cb | Bb |iv bvii bII I
I iv bvii bII loop| Bb | Ebm | Abm | Cb |I iv bvii bII
I bVI+ bII I| Bb | Gb+ | Cb | Bb |I bVI+ bII
I bVI+ iv I| Bb | Gb+ | Ebm | Bb |I bVI+ iv
iv v° I cadence| Ebm | Fdim | Bb | Bb |iv v° I
I7 bIImaj7 bvii7 bIImaj7 vamp| Bb7 | Cbmaj7 | Abm7 | Cbmaj7 |I7 bIImaj7 bvii7
iv(maj7) bIImaj7 I7 cadence| Ebm(maj7) | Cbmaj7 | Bb7 | Bb7 |iv(maj7) bIImaj7 I7
bvii7 bIImaj7 I7 cadence| Abm7 | Cbmaj7 | Bb7 | Bb7 |bvii7 bIImaj7 I7
Descending bass iv(maj7) iii°7 bIImaj7 I7| Ebm(maj7) | Ddim7 | Cbmaj7 | Bb7 |iv(maj7) iii°7 bIImaj7 I7
Rising bass I7 bIImaj7 iii°7 bIImaj7| Bb7 | Cbmaj7 | Ddim7 | Cbmaj7 |I7 bIImaj7 iii°7
I7 iii°7 bIImaj7 I7| Bb7 | Ddim7 | Cbmaj7 | Bb7 |I7 iii°7 bIImaj7
I7 iv(maj7) bvii7 bIImaj7 loop| Bb7 | Ebm(maj7) | Abm7 | Cbmaj7 |I7 iv(maj7) bvii7 bIImaj7
I7 bVI+maj7 iv(maj7) I7| Bb7 | Gbmaj7#5 | Ebm(maj7) | Bb7 |I7 bVI+maj7 iv(maj7)
bVI+maj7 bIImaj7 I7 cadence| Gbmaj7#5 | Cbmaj7 | Bb7 | Bb7 |bVI+maj7 bIImaj7 I7
bvii7 bVI+maj7 bIImaj7 I7| Abm7 | Gbmaj7#5 | Cbmaj7 | Bb7 |bvii7 bVI+maj7 bIImaj7 I7
iv(maj7) vø7 I7 cadence| Ebm(maj7) | Fm7b5 | Bb7 | Bb7 |iv(maj7) vø7 I7
I7 bIImaj7 iv(maj7) vø7 turnaround| Bb7 | Cbmaj7 | Ebm(maj7) | Fm7b5 |I7 bIImaj7 iv(maj7) vø7

B Phrygian dominant chord progressions

In B Phrygian dominant every progression comes home to B, and the bII chord C falls a half step to it. The descending bass runs Em D#dim C B.

B scaleB open positionB positionsB fretboardB one stringB double stopsB chordsB inversionsB drop 2B arpeggiosB progressionsB backing track

Chord progressions of B phrygian dominant, one bar per chord
ProgressionChordsNumerals
I bII bvii bII vamp| B | C | Am | C |I bII bvii
I bII iv bII vamp| B | C | Em | C |I bII iv
iv bII I cadence| Em | C | B | B |iv bII I
bvii bII I cadence| Am | C | B | B |bvii bII I
Descending bass iv iii° bII I| Em | D#dim | C | B |iv iii° bII I
Rising bass I bII iii° bII| B | C | D#dim | C |I bII iii°
Rising bass I bII iii° iv| B | C | D#dim | Em |I bII iii° iv
iv bvii bII I| Em | Am | C | B |iv bvii bII I
I iv bvii bII loop| B | Em | Am | C |I iv bvii bII
I bVI+ bII I| B | G+ | C | B |I bVI+ bII
I bVI+ iv I| B | G+ | Em | B |I bVI+ iv
iv v° I cadence| Em | F#dim | B | B |iv v° I
I7 bIImaj7 bvii7 bIImaj7 vamp| B7 | Cmaj7 | Am7 | Cmaj7 |I7 bIImaj7 bvii7
iv(maj7) bIImaj7 I7 cadence| Em(maj7) | Cmaj7 | B7 | B7 |iv(maj7) bIImaj7 I7
bvii7 bIImaj7 I7 cadence| Am7 | Cmaj7 | B7 | B7 |bvii7 bIImaj7 I7
Descending bass iv(maj7) iii°7 bIImaj7 I7| Em(maj7) | D#dim7 | Cmaj7 | B7 |iv(maj7) iii°7 bIImaj7 I7
Rising bass I7 bIImaj7 iii°7 bIImaj7| B7 | Cmaj7 | D#dim7 | Cmaj7 |I7 bIImaj7 iii°7
I7 iii°7 bIImaj7 I7| B7 | D#dim7 | Cmaj7 | B7 |I7 iii°7 bIImaj7
I7 iv(maj7) bvii7 bIImaj7 loop| B7 | Em(maj7) | Am7 | Cmaj7 |I7 iv(maj7) bvii7 bIImaj7
I7 bVI+maj7 iv(maj7) I7| B7 | Gmaj7#5 | Em(maj7) | B7 |I7 bVI+maj7 iv(maj7)
bVI+maj7 bIImaj7 I7 cadence| Gmaj7#5 | Cmaj7 | B7 | B7 |bVI+maj7 bIImaj7 I7
bvii7 bVI+maj7 bIImaj7 I7| Am7 | Gmaj7#5 | Cmaj7 | B7 |bvii7 bVI+maj7 bIImaj7 I7
iv(maj7) vø7 I7 cadence| Em(maj7) | F#m7b5 | B7 | B7 |iv(maj7) vø7 I7
I7 bIImaj7 iv(maj7) vø7 turnaround| B7 | Cmaj7 | Em(maj7) | F#m7b5 |I7 bIImaj7 iv(maj7) vø7

Phrygian Dominant Chord Progressions on Guitar: frequently asked questions

Short answers to the questions guitarists ask most about the Phrygian dominant chord progressions on guitar.

What is the most common Phrygian dominant chord progression?

The bII chord falling to the home chord: F to E in E, Bb to A in A. It sits at the end of the iv bII I cadence (Am F E) and inside the I bII bvii bII vamp (E F Dm F), and it is the clearest sound of the scale.

Which chords can a Phrygian dominant progression use?

In E: E, F, G#dim, Am, Bdim, C+ and Dm, or E7, Fmaj7, G#dim7, Am(maj7), Bm7b5, Cmaj7#5 and Dm7 with the 7th. Every progression on this page uses only these chords.

Why does the bII chord resolve so strongly to I?

Every note of the bII chord falls a half step into the home chord: in E, F to E, A to G# and C to B. That move is the Phrygian cadence.

What does the G#dim7 chord do in E Phrygian dominant?

G#dim7, G# B D F, holds the notes of E7b9 without its root, so it works as the home chord at its most tense and resolves through Fmaj7 to E7.

Which scale do I play over these progressions?

The Phrygian dominant of the key, over every bar: every chord on this page belongs to it. In E it is E F G# A B C D. Aim for the 3rd of each chord as it arrives, G# over E, A over F, C over Am.

Sources

Last reviewed: October 26, 2026

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