F#

Exotic Scale

F# / G♭ Phrygian Dominant

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

Notes in F# Phrygian Dominant

F#1
G2
A#3
B4
C#5
D6
E7
F#8

Chords in F# Phrygian Dominant

7 diatonic chords
DegreeChordNotesQuality
IF#F# – A# – C#major
IIGG – B – Dmajor
iiiA#°A# – C# – Ediminished
ivBmB – D – F#minor
vC#°C# – E – Gdiminished
VID+D – F# – A#augmented
viiEmE – G – Bminor

Other Scales in F#

MajorF#, G#, A#, B, C#, D#, FNatural MinorF#, G#, A, B, C#, D, EHarmonic MinorF#, G#, A, B, C#, D, FMelodic MinorF#, G#, A, B, C#, D#, FDorianF#, G#, A, B, C#, D#, EPhrygianF#, G, A, B, C#, D, ELydianF#, G#, A#, C, C#, D#, FMixolydianF#, G#, A#, B, C#, D#, ELocrianF#, G, A, B, C, D, EMajor PentatonicF#, G#, A#, C#, D#Minor PentatonicF#, A, B, C#, EBluesF#, A, B, C, C#, EWhole ToneF#, G#, A#, C, D, EDiminished (H-W)F#, G, A, A#, C, C#, D#, EDiminished (W-H)F#, G#, A, B, C, D, D#, FHungarian MinorF#, G#, A, C, C#, D, FLydian DominantF#, G#, A#, C, C#, D#, E

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 F# 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 F# / Gb Phrygian Dominant

The F# phrygian dominant scale contains the notes F#, G, A#, B, C#, D, E. Mode V of harmonic minor. Middle-Eastern, Spanish, dramatic.

The diatonic chords in F# phrygian dominant are F# (I), G (II), A#° (iii), Bm (iv), C#° (v), D+ (VI), Em (vii). These are the chords you can use when writing or improvising in this key — every note in each chord belongs to the F# phrygian dominant scale.

To develop your ear for the F# 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.