D#

Exotic Scale

D# / E♭ Phrygian Dominant

Mode V of harmonic minor. Middle-Eastern, Spanish, dramatic.

Notes in D# Phrygian Dominant

Eb1
E2
G3
Ab4
Bb5
B6
Db7
Eb8

Chords in D# Phrygian Dominant

7 diatonic chords
DegreeChordNotesQuality
IEbEb – G – Bbmajor
IIEE – Ab – Bmajor
iiiG°G – Bb – Dbdiminished
ivAbmAb – B – Ebminor
vBb°Bb – Db – Ediminished
VIB+B – Eb – Gaugmented
viiDbmDb – E – Abminor

Other Scales in D#

MajorEb, F, G, Ab, Bb, C, DNatural MinorEb, F, Gb, Ab, Bb, B, DbHarmonic MinorEb, F, Gb, Ab, Bb, B, DMelodic MinorEb, F, Gb, Ab, Bb, C, DDorianEb, F, Gb, Ab, Bb, C, DbPhrygianEb, E, Gb, Ab, Bb, B, DbLydianEb, F, G, A, Bb, C, DMixolydianEb, F, G, Ab, Bb, C, DbLocrianEb, E, Gb, Ab, A, B, DbMajor PentatonicEb, F, G, Bb, CMinor PentatonicEb, Gb, Ab, Bb, DbBluesEb, Gb, Ab, A, Bb, DbWhole ToneEb, F, G, A, B, DbDiminished (H-W)Eb, E, Gb, G, A, Bb, C, DbDiminished (W-H)Eb, F, Gb, Ab, A, B, C, DHungarian MinorEb, F, Gb, A, Bb, B, DLydian DominantEb, F, G, A, Bb, C, Db

Phrygian Dominant in All 12 Keys

CC C# E F G G# A#C#D♭Db D F Gb Ab A BDD D# F# G A A# CD#E♭Eb E G Ab Bb B DbEE F G# A B C DFF Gb A Bb C Db EbF#G♭F# G A# B C# D EGG G# B C D D# FG#A♭Ab A C Db Eb E GbAA A# C# D E F GA#B♭Bb B D Eb F Gb AbBB C D# E F# G A

Practice by Ear

Scale RecognitionIdentify the Phrygian Dominant scale by ear →Play D# Phrygian DominantHear the scale and practice recognising it →Chord Recognition TrainerIdentify the chords above by ear →Progression TrainerIdentify common progressions in this key →

Chords in D# / Eb Phrygian Dominant

The D# phrygian dominant scale contains the notes Eb, E, G, Ab, Bb, B, Db. Mode V of harmonic minor. Middle-Eastern, Spanish, dramatic.

The diatonic chords in D# phrygian dominant are Eb (I), E (II), G° (iii), Abm (iv), Bb° (v), B+ (VI), Dbm (vii). These are the chords you can use when writing or improvising in this key — every note in each chord belongs to the D# phrygian dominant scale.

To develop your ear for the D# phrygian dominant sound, use the scale and chord trainers linked above. Being able to recognise these sounds by ear — not just read them from a chart — is what separates musicians who truly hear music from those who only read it.