View source for Phrygian mode

{{Short description|Authentic Gregorian mode}}
:<score sound="1"> {
\key c \phrygian
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \time 8/4
  c4^\markup { Modern C Phrygian mode } des es f g aes bes c
} }
</score>

The '''Phrygian mode''' (pronounced {{IPAc-en|ˈ|f|r|ɪ|dʒ|i|ə|n}}) can refer to three different [[Mode (music)|musical mode]]s: the ancient Greek ''tonos'' or ''harmonia,'' sometimes called Phrygian, formed on a particular set of [[octave species]] or scales; the medieval Phrygian mode, and the modern conception of the Phrygian mode as a [[diatonic scale]], based on the latter.

== Ancient Greek Phrygian<span class="anchor" id="Ancient_Greek_anchor"></span> ==
The octave species (scale) underlying the ancient-Greek Phrygian ''tonos'' (in its diatonic [[Genus (music)|genus]]) corresponds to the medieval and modern [[Dorian mode]]. The terminology is based on the ''[[Elementa harmonica|Elements]]'' by [[Aristoxenos]] (fl. {{circa|335&nbsp;{{sc|BCE}} }}), a disciple of [[Aristotle]]. The Phrygian ''tonos'' or ''harmonia'' is named after the ancient kingdom of [[Phrygia]] in [[Anatolia]].

In Greek music theory, the ''harmonia'' given this name was based on a ''tonos'', in turn based on a scale or [[octave species]] built from a [[tetrachord]] which, in its diatonic genus, consisted of a series of rising intervals of a [[major second|whole tone]], followed by a [[semitone]], followed by a whole tone.

:<score sound="1"> {
\key e \dorian
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \time 4/4
  e4^\markup { Greek Phrygian tonos (diatonic genus) on E } fis g a b cis d e

} }
</score>
In the chromatic genus, this is a [[minor third]] followed by two semitones.

:<score sound="1"> {
\key e \major
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \time 4/4
  e4^\markup { Greek Phrygian tonos (chromatic genus) on E } fisis gis a c cisis dis e

} }
</score>
In the enharmonic genus, it is a [[major third]] and two [[quarter tone]]s.
:<score sound="1"> {
\key e \major
\override Score.TimeSignature #'stencil = ##f

\relative c' {
  \clef treble \time 4/4
  e4^\markup { Greek Phrygian tonos (enharmonic genus) on E } gis gisih a b dis disih e
} }
</score>

A diatonic-genus octave species built upon D is roughly equivalent to playing all the white notes on a piano keyboard from D to D:
:<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \time 4/4
  d4 e f g a b c d
} }
</score>
This scale, combined with a set of characteristic melodic behaviours and associated [[ethos|ethe]], constituted the ''harmonia'' which was given the ethnic name "Phrygian", after the "unbounded, ecstatic peoples of the wild, mountainous regions of the Anatolian highlands".{{sfnp|Solomon|1984|p=249}} This ethnic name was also confusingly applied by theorists such as [[Cleonides]] to one of thirteen chromatic [[transposition (music)|transposition]] levels, regardless of the intervallic makeup of the scale.{{sfnp|Solomon|1984|pp=244–246}}

Since the Renaissance, music theorists have called this same sequence (on a diatonic scale) the "[[Dorian mode#Renaissance|Dorian]]" mode, due to a mistake interpreting Greek (it is different from the [[Dorian mode#Greek_Dorian_anchor|Greek mode called "Dorian"]]).

== Medieval Phrygian mode ==
The early [[Catholic Church]] developed a system of eight [[Mode (music)|musical modes]] that medieval music scholars gave names drawn from the ones used to describe the ancient Greek ''harmoniai''. The name "Phrygian" was applied to the third of these eight [[church modes]], the authentic mode on E, described as the diatonic octave extending from E to the E an octave higher and divided at B, therefore beginning with a semitone-tone-tone-tone [[pentachord]], followed by a semitone-tone-tone [[tetrachord]]:{{r|Grove2001_Phrygian}}

:<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \time 5/4
  e4 f g a b
  \time 4/4
  \parenthesize b c d e
} }
</score>
The [[Ambitus (music)|ambitus]] of this mode extended one tone lower, to D. The sixth degree, C, which is the tenor of the corresponding third psalm tone, was regarded by most theorists as the most important note after the final, though the fifteenth-century theorist Johannes Tinctoris implied that the fourth degree, A, could be so regarded instead.{{r|Grove2001_Phrygian}}

Placing the two tetrachords together, and the single tone at bottom of the scale produces the [[Hypophrygian mode]] (below Phrygian):

:<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c'' {
  \clef treble \time 1/4
  g4
  \time 4/4
  a b c d \parenthesize d e f g
} }
</score>

== Modern Phrygian mode ==
In modern western music (from the 18th century onward), the Phrygian mode is related to the modern [[natural minor scale]], also known as the [[Aeolian mode]], but with the second scale degree lowered by a semitone, making it a minor second above the tonic, rather than a major second.

:<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \time 7/4
  e4^\markup { Modern E Phrygian mode } f g a b c d e2
} }
</score>
The following is the Phrygian mode starting on E, or E Phrygian, with corresponding [[tonality|tonal]] [[scale degrees]] illustrating how the modern [[major mode]] and [[Natural minor#Natural minor|natural minor mode]] can be altered to produce the Phrygian mode:
:{| style="text-align:center" cellpadding="3em"
|+ E Phrygian
| Mode: || E || F || G || A || B || C || D || E
|-
| Major: || 1 || {{music|flat}}2 || {{music|flat}}3 || 4 || 5 || {{music|flat}}6 || {{music|flat}}7 || 1
|-
| Minor: || 1 || {{music|flat}}2 || 3 || 4 || 5 || 6 || 7 || 1
|}

Therefore, the Phrygian mode consists of: root, minor second, minor third, perfect fourth, perfect fifth, minor sixth, minor seventh, and octave. Alternatively, it can be written as the pattern

: half, whole, whole, whole, half, whole, whole
In contemporary [[jazz]], the Phrygian mode is used over chords and sonorities built on the mode, such as the sus4({{music|flat}}9) chord (see [[Suspended chord]]), which is sometimes called a ''Phrygian suspended chord''. For example, a soloist might play an E Phrygian over an Esus4({{music|flat}}9) chord (E–A–B–D–F).

=== Phrygian dominant scale ===
A [[Phrygian dominant scale]] is produced by raising the third scale degree of the mode:

:{| style="text-align:center" cellpadding="3em"
|+ E Phrygian dominant
| Mode: || E || F || G{{music|sharp}} || A || B || C || D || E
|-
| Major: || 1 || {{music|flat}}2 ||3 || 4 || 5 || {{music|flat}}6 || {{music|flat}}7 || 1
|-
| Minor: || 1 || {{music|flat}}2 || {{music|sharp}}3 || 4 || 5 || 6 || 7 || 1
|}

The Phrygian dominant is also known as the '''Spanish [[gypsy scale]]''', because it resembles the scales found in [[flamenco]] and also the [[Berbers|Berber]] rhythms;{{r|Thomas_Academia}} it is the fifth mode of the [[harmonic minor]] scale. Flamenco music uses the Phrygian scale together with a modified scale from the Arab ''[[Arabic maqam|maqām Ḥijāzī]]''{{r|ModalInFlamencoWeb|Grove2001_Flamenco}} (like the Phrygian dominant but with a major sixth scale degree),{{Citation needed|date=March 2020|reason=Katz does not include this description}} and a bimodal configuration using both major and minor second and third scale degrees.{{r|Grove2001_Flamenco}}

==List of Modern Phrygian scales==
{| class="wikitable"
![[Major scale|Major Key]]
![[Minor scale|Minor Key]]
![[Key signature|Key Signatures]]
![[Tonic (music)|Tonic]]
!Component pitches
|-
| [[C♯ major]]
|[[A♯ minor]]|| 7♯ || E♯ || E♯ F♯ G♯ A♯ B♯ C♯ D♯
|-
| [[F♯ major]]
|[[D♯ minor]]|| 6♯ || A♯ || A♯ B C♯ D♯ E♯ F♯ G♯
|-
| [[B major]]
|[[G♯ minor]]|| 5♯ || D♯ || D♯ E F♯ G♯ A♯ B C♯
|-
| [[E major]]
|[[C♯ minor]]|| 4♯ || G♯ || G♯ A B C♯ D♯ E F♯
|-
| [[A major]]
|[[F♯ minor]]|| 3♯ || C♯ || C♯ D E F♯ G♯ A B
|-
| [[D major]]
|[[B minor]]|| 2♯ || F♯ || F♯ G A B C♯ D E
|-
| [[G major]]
|[[E minor]]|| 1♯ || B || B C D E F♯ G A
|-
| [[C major]]
|[[A minor]]|| - || E || E F G A B C D
|-
| [[F major]]
|[[D minor]]|| 1♭ || A || A B♭ C D E F G
|-
| [[B♭ major]]
|[[G minor]]|| 2♭ || D || D E♭ F G A B♭ C
|-
| [[E♭ major]]
|[[C minor]]|| 3♭ || G || G A♭ B♭ C D E♭ F
|-
| [[A♭ major]]
|[[F minor]]|| 4♭ || C || C D♭ E♭ F G A♭ B♭
|-
| [[D♭ major]]
|[[B♭ minor]]|| 5♭ || F || F G♭ A♭ B♭ C D♭ E♭
|-
| [[G♭ major]]
|[[E♭ minor]]|| 6♭ || B♭ || B♭ C♭ D♭ E♭ F G♭ A♭
|-
| [[C♭ major]] 
|[[A♭ minor]]|| 7♭ || E♭ || E♭ F♭ G♭ A♭ B♭ C♭ D♭
|}

==Examples==
[[File:Respighi Trittico Botticelliano.png|thumb|right|400px|Use of the Phrygian mode on A in [[Ottorino Respighi|Respighi]]'s ''Trittico Botticelliano'' (Botticelli Triptych, 1927){{r|BenwardSaker2009_244}} {{audio|Respighi Trittico Botticelliano.mid|Play}}]]

===Ancient Greek===
* The [[Delphic Hymns#First Delphic Hymn|First Delphic Hymn]], written in 128 BC by the Athenian composer [[Limenius]], is in the Phrygian and Hyperphrygian ''tonoi'', with much variation.{{r|PöhlmannWest2001_73}}
* The [[Seikilos epitaph]] (1st century AD) is in the Phrygian species (diatonic genus), in the Iastian (or low Phrygian) transposition.{{sfn|Solomon|1986|loc=pp. 459, 461n14, 470}}

===Medieval and Renaissance===
* [[Gregorian chant]], ''[[Aurora lucis rutilat|Tristes erant apostoli]]'', version in the ''Vesperale Romanum'', originally [[Ambrosian chant]].{{r|Otten1907}}
* The Roman chant variant of the [[Requiem]] [[introit]] "Rogamus te" is in the (authentic) Phrygian mode, or 3rd tone.{{r|Grove2001_RequiemMass}}
* [[Thomas Tallis]]'s ''[[Tunes for Archbishop Parker's Psalter|Why fum'th in sight]]'', used by Vaughan Williams in his famous fantasia.
* [[Orlando di Lasso]]'s (d. 1594) motet ''In me transierunt''.{{sfn|Pesic|2005|loc=''passim''}}
* [[Giovanni Pierluigi da Palestrina]]'s (d. 1594) motet ''Congratulamini mihi''.{{sfn|Carver|2005|p=77}}
* [[Josquin]]'s ''[[Miserere (Josquin)|Miserere]]''

===Baroque===
*[[Johann Sebastian Bach]] keeps in his [[Bach cantata|cantata]]s the Phrygian mode of some original [[chorale]] melodies, such as [[Martin Luther|Luther]]'s "{{lang|de|[[Es woll uns Gott genädig sein]]}}" on a melody by [[Matthias Greitter]], used twice in [[Die Himmel erzählen die Ehre Gottes, BWV 76|''Die Himmel erzählen die Ehre Gottes'', BWV 76]] (1723) {{r|BraatzOron2006}}{{Self-published inline|date=October 2009}}
*[[Heinrich Schütz]]'s ''Johannes-Passion'' (1666) is in the Phrygian mode{{r|Grove2001_Schütz}}
*[[Dieterich Buxtehude]]'s (d. 1707) Prelude in A minor, BuxWV 152,{{r|Grove2001_Buxtehude}} (labeled ''Phrygisch'' in the BuxWV catalog){{r|Karstädt1985}}{{Page needed|date=May 2011}}

===Romantic===
*[[Johannes Brahms]]:
** [[Symphony No. 4 (Brahms)|Symphony No. 4]], second movement. <ref>{{cite book |last1=Steinberg |first1=Michael |title=The Symphony: A Listener's Guide |date=1995 |publisher=Oxford University Press |location=New York; Oxford |isbn=978-0-19-512665-5 |page=89}}</ref>
*[[Anton Bruckner]]:
** ''[[Ave Regina caelorum, WAB 8|Ave Regina caelorum]]'', WAB 8 (1885–88).{{sfn|Carver|2005|pp=76–77}}
** ''[[Pange lingua, WAB 33|Pange lingua]]'', WAB 33 (second setting, 1868).{{sfn|Carver|2005|p=79}}{{sfn|Partsch|2007|p=227}}
** [[Symphony No. 3 (Bruckner)|Symphony no. 3]], passages in the third (scherzo) and fourth movements .{{sfn|Carver|2005|pp=89–90}}
** [[Symphony No. 4 (Bruckner)|Symphony no. 4]] (third version, 1880), Finale.{{sfn|Carver|2005|pp=90–92}}
** [[Symphony No. 6 (Bruckner)|Symphony no. 6]], first, third (scherzo), and fourth movements.{{sfn|Carver|2005|pp=91–98}}
** [[Symphony No. 7 (Bruckner)|Symphony no. 7]], first movement.{{sfn|Carver|2005|pp=96–97}}
** [[Symphony No. 8 (Bruckner)|Symphony no. 8]], first and fourth movements.{{sfn|Carver|2005|p=98}}
** ''[[Tota pulchra es (Bruckner)|Tota pulchra es]]'', WAB 46 (1878).{{sfn|Carver|2005|pp=79, 81–88}}
** ''[[Vexilla regis (Bruckner)|Vexilla regis]]'', WAB 51 (1892).{{sfn|Carver|2005|pp=79–80}}
*[[Isaac Albéniz]]' ''[[Rumores de la Caleta]]'', Op. 71, No. 6
*[[Ralph Vaughan Williams]]' ''[[Fantasia on a Theme by Thomas Tallis]]'',{{r|Grove2001_Vaughan}} based on [[Thomas Tallis]]'s 1567 setting of [[Psalm 2]], "Why fum'th in sight".

===Contemporary classical music===
*[[John Coolidge Adams]], ''[[Phrygian Gates]]''{{r|JAdams2010}}
*[[Samuel Barber]]:
**''[[Adagio for Strings]]'', op. 11{{sfn|Pollack|2000|p=191}}
**"I Hear an Army", from Three Songs, op. 10{{sfn|Pollack|2000|p=192}}
*[[Benjamin Britten]], ''[[Hymn to St Cecilia]]''
*[[Philip Glass]], the final aria from ''[[Satyagraha (opera)|Satyagraha]]''{{r|Grove2001_Glass}}
*[[Julian Cochran]], Prelude No. 14 uses the Phrygian scale throughout the work.<ref>{{cite web |url=https://www.youtube.com/watch?v=Nd56XOJ1W8w |title=Prelude No. 14, Julian. Cochran |author=<!--Not stated--> |date=2022 |website=YouTube |publisher=Noreen Holtzen|quote=The phrygian scale is used throughout the work.}}</ref>

===Film music===
*[[Howard Shore]], "Prologue" accompanying the opening sequence of the film, though the second half of the melody contains an A natural, which in the key of the piece makes it Phrygian Dominant. ''[[The Lord of the Rings: The Fellowship of the Ring]]''.{{r|DAdams2010_54}}

===Jazz===
*"Solea" by [[Gil Evans]] from ''[[Sketches of Spain]]'' (1960).{{r|PelletierBacquaertND}}
*"Infant Eyes" by [[Wayne Shorter]] from ''[[Speak No Evil (Wayne Shorter album)|Speak No Evil]]'' (1966)<ref name="Baerman">Baerman, Noah (1996). ''Complete Jazz Keyboard Method: Intermediate Jazz Keyboard'', 21. Alfred Music. {{ISBN|9781457412905}}.</ref>
*"After the Rain" by [[John Coltrane]] from ''[[Impressions (John Coltrane album)|Impressions]]'' (1963)<ref name="Baerman"/>

===Rock===
{{quote|In practical terms it should be said that few rock songs that use modes such as the phrygian, Lydian, or locrian actually maintain a harmony rigorously fixed on them. What usually happens is that the scale is harmonized in [chords with perfect] fifths and the riffs are then played [over] those [chords].<ref>Rooksby, Rikky (2010). ''[https://books.google.com/books?id=ftGGDwAAQBAJ&dq=Locrian+mode&pg=PT121 Riffs: How to Create and Play Great Guitar Riffs]''. Backbeat. {{ISBN|9781476855486}}.</ref>}}

*"[[Symphony of Destruction]]" by [[Megadeth]]<ref name="Serna">Serna, Desi (2008). ''Fretboard Theory'', v. 1, p. 113. Guitar-Music-Theory.com. {{ISBN|9780615226224}}.</ref>
*"[[Remember Tomorrow]]" by [[Iron Maiden]]<ref name="Serna"/><ref name="Dummies">Serna, Desi (2021). ''Guitar Theory For Dummies with Online Practice'', p.266. Wiley. {{ISBN|9781119842972}}.</ref>
*"[[Wherever I May Roam]]" by [[Metallica]]<ref name="Dummies"/>
*"[[The Extremist|War]]" by [[Joe Satriani]]<ref name="Serna"/><ref name="Dummies"/>
*"[[Sails of Charon]]" by [[Scorpions (band)|Scorpions]]<ref name="Serna"/><ref name="Dummies"/>

===Other popular music===
*"[[This Is How We Do It]]" by [[Montell Jordan]]
*"Gin & Juice" by [[Snoop Dogg]]
*"[[Demons (Doja Cat song)|Demons]]" by [[Doja Cat]]
*"New Person, Same Old Mistakes" by [[Tame Impala]]<ref name=":0">{{Cite web |title=Phrygian Mode: Complete Beginner's Guide |url=https://emastered.com/blog/phrygian-mode |access-date=2025-02-05 |website=emastered.com |language=en}}</ref>
*"[[I Care (Beyoncé song)|I Care]]" by [[Beyoncé]]<ref name=":0" />
*"[[Doo Wop (That Thing)]]" by [[Lauryn Hill]]<ref name=":0" />
*"[[Unholy_(Sam_Smith_and_Kim_Petras_song)|Unholy]]" by [[Sam Smith]], [[Kim Petras]]<ref name=":0" />

==See also==
* [[Bhairavi (Hindustani)|Bhairavi]], the equivalent scale ([[thaat]]) in [[Hindustani music]]
* [[Dastgahe Shoor|Shoor]], the main scale ([[dastgah]]) in [[Iran]]ian music
* [[Hanumatodi]], the equivalent scale ([[melakarta]]) in [[Carnatic music]]
* [[Kürdî]], the equivalent scale ([[Turkish makam|makam]]) in [[Turkish makam music]]
* [[Neapolitan chord]]
* [[Phrygian cadence]]

==References==
'''Footnotes'''
{{reflist|refs=
<ref name=Grove2001_Phrygian>{{harvnb|Sadie|Tyrrell|2001|loc="Phrygian" by [[Harold Powers|Harold S. Powers]]}}.</ref>

<ref name=ModalInFlamencoWeb>{{cite web |last=Vargas |first=Enrique |title=Modal Improvisation And Melodic Construction In The Flamenco Environment |website=Guitarras De Luthier |url=https://www.guitarrasdeluthier.com/en/product/flamenco-guitar-book-theory-ii/575}}</ref>

<ref name=Thomas_Academia>{{cite journal |last=Thomas |first=Samuel |title=Correlates between Berber and Flamenco Rhythms |website=Academia |url=https://www.academia.edu/5669246 }}</ref>

<ref name=Grove2001_Flamenco>{{harvnb|Sadie|Tyrrell|2001|loc="Flamenco [cante flamenco]" by Israel J. Katz}}.</ref>

<ref name=BenwardSaker2009_244>Benward, Bruce, and Marilyn Nadine Saker. 2009. ''Music in Theory and Practice: Volume II'', eighth edition. Boston: McGraw-Hill. p. 244. {{ISBN|978-0-07-310188-0}}.</ref>

<ref name=PöhlmannWest2001_73>Pöhlmann, Egert, and Martin L. West. 2001. ''Documents of Ancient Greek Music: The Extant Melodies and Fragments'', edited and transcribed with commentary by Egert Pöhlmann and Martin L. West. Oxford: Clarendon Press. p. 73. {{ISBN|0-19-815223-X}}.</ref>

<ref name=Otten1907>{{CathEncy|wstitle= Aurora Lucis Rutilat |volume= 2 |last= Otten |first= Joseph |author-link= |short=1 }}</ref>

<ref name=Grove2001_RequiemMass>{{harvnb|Sadie|Tyrrell|2001|loc="Requiem Mass" (§1) by Theodore Karp, Fabrice Fitch and [[Basil Smallman]]}}.</ref>

<ref name=BraatzOron2006>Braatz, Thomas, and Aryeh Oron. April 2006. "[http://www.bach-cantatas.com/CM/Es-woll-uns.htm Chorale Melodies used in Bach's Vocal Works ''Es woll (or wolle/wollt) uns Gott genädig sein'']". (accessed 24 October 2009)</ref>

<ref name=Grove2001_Schütz>{{harvnb|Sadie|Tyrrell|2001|loc="Schütz, Heinrich [Henrich] [Sagittarius, Henricus]" (§10) by Joshua Rifkin, Eva Linfield, Derek McCulloch and Stephen Baron}}.</ref>

<ref name=Grove2001_Buxtehude>{{harvnb|Sadie|Tyrrell|2001|loc="Buxtehude, Dieterich" by Kerala J. Snyder}}.</ref>

<ref name=Karstädt1985>Karstädt, G. (ed.). 1985. ''Thematisch-systematisches Verzeichnis der musikalischen Werke von Dietrich Buxtehude: Buxtehude-Werke-Verzeichnis'', second edition. Wiesbaden. French online adaptation, "[http://infopuq.uquebec.ca/~uss1010/catal/buxtehude/buxdcati1.html Dietrich Buxtehude, (c.1637–1707) Catalogue des oeuvres BuxWV: Oeuvres instrumentales: Musique pour orgue, BuxWV 136–225]". Université du Québec website (Accessed 17 May 2011).</ref>

<ref name=Grove2001_Vaughan>{{harvnb|Sadie|Tyrrell|2001|loc="Vaughan Williams, Ralph" by Hugh Ottaway and Alain Frogley}}.</ref>

<ref name=JAdams2010>[[John Adams (composer)|Adams, John]]. 2010. [https://www.earbox.com/phrygian-gates-china-gates/ "Phrygian Gates and China Gates"]. John Adams official web site. Accessed 7 August 2019.</ref>

<ref name=Grove2001_Glass>{{harvnb|Sadie|Tyrrell|2001|loc="Glass, Philip" by Edward Strickland}}.</ref>

<ref name=DAdams2010_54>[[Doug Adams (music journalist)|Adams, Doug]]. 2010. ''The Music of the Lord of the Rings Films: A Comprehensive Account of Howard Shore's Scores''. Van Nuys, California: Carpentier/Alfred Music Publishing. p. 54. {{ISBN|0-7390-7157-2}}.</ref>

<ref name=PelletierBacquaertND>Pelletier-Bacquaert, Bruno. n.d. [http://brunojazz.com/vt-SusChords1.htm "Various Thoughts: Sus Chords"], accessed December 10, 2009.</ref>
}}

'''Sources'''
* {{cite journal|last=Carver|first=Anthony F.|date=February 2005|title=Bruckner and the Phrygian Mode|journal=[[Music & Letters]]|volume=86|issue=1|pages=74–99|doi=10.1093/ml/gci004}}
* {{cite journal |last=Partsch |first=Erich Wolfgang |date=2007 |title=Anton Bruckners phrygisches Pange lingua (WAB 33) |journal=Singende Kirche |volume=54 |issue=4 |pages=227–229 |issn=0037-5721}}
* {{cite journal|last=Pesic|first=Peter|date=2005|title=Earthly Music and Cosmic Harmony: Johannes Kepler's Interest in Practical Music, Especially Orlando di Lasso|journal=Journal of Seventeenth-Century Music|volume=11|issue=1|url=http://www.sscm-jscm.org/v11/no1/pesic.html}}
* {{cite journal|last=Pollack|first=Howard|date=Summer 2000|title=Samuel Barber, Jean Sibelius, and the Making of an American Romantic|journal=[[The Musical Quarterly]]|volume=84|issue=2|pages=175–205|doi=10.1093/musqtl/84.2.175}}
* {{cite book|date=2001|editor1-last=Sadie|editor1-first=Stanley|editor1-link=Stanley Sadie|editor2-last=Tyrrell|editor2-first=John|editor2-link=John Tyrrell (musicologist)|title=[[The New Grove Dictionary of Music and Musicians]]|edition=2nd|location=London|publisher=Macmillan|isbn=9780195170672}}
* {{cite journal|last=Solomon|first=Jon|date=Summer 1984|title=Towards a History of ''Tonoi''|journal=[[The Journal of Musicology]]|volume=3|issue=3|pages=242–251|doi=10.2307/763814|jstor=763814}}
* {{cite journal|last=Solomon|first=Jon|date=Winter 1986|title=The Seikilos Inscription: A Theoretical Analysis |journal=[[American Journal of Philology]]|volume=107|issue=4 |pages=455–479|doi=10.2307/295097|jstor=295097}}

==Further reading==
* Franklin, Don O. 1996. "Vom alten zum neuen Adam: Phrygischer Kirchenton und moderne Tonalität in J. S. Bachs Kantate 38". In ''Von Luther zu Bach: Bericht über die Tagung 22.–25. September 1996 in Eisenach'', edited by Renate Steiger, 129–144. Internationalen Arbeitsgemeinschaft für theologische Bachforschung (1996): Eisenach. Sinzig: Studio-Verlag. {{ISBN|3-89564-056-5}}.
* Gombosi, Otto. 1951. "Key, Mode, Species". ''[[Journal of the American Musicological Society]]'' 4, no. 1:20–26. {{JSTOR|830117}} (Subscription access) {{doi|10.1525/jams.1951.4.1.03a00020}}
* Hewitt, Michael. 2013. ''Musical Scales of the World''. [s.l.]: The Note Tree. {{ISBN|978-0-9575470-0-1}}.
* Novack, Saul. 1977. "The Significance of the Phrygian Mode in the History of Tonality". ''Miscellanea Musicologica'' 9:82–177. {{ISSN|0076-9355}} {{OCLC|1758333}}
* Tilton, Mary C. 1989. "The Influence of Psalm Tone and Mode on the Structure of the Phrygian Toccatas of Claudio Merulo". ''Theoria'' 4:106–122. {{ISSN|0040-5817}}

{{Modes}}
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[[Category:Modes (music)]]
[[Category:Culture of Phrygia|Mode]]