First of all , thanks everyone for this good web page

My question : I compose a track . it is based on A . Track has 3 verses and 1 Brigde.

Track Build like that

1.Verse : A Phrygian dominant (basses and pluck melodies) -------------------------------------------------------- 2. Verse : A Phrygian dominant (basses and pluck melodies ,piano)---------------------------------------- Brigde : A natural minor (strings,synth pads,choir)------------------------------------------------------------------- 3. Verse : A Phrygian dominant (only main melody,basses)

I played and composed on A Phrygian dominant for two first verse and last verse .

If i'll play A natural minor for brigde , will it sound bad and it brokes music theory ?

i cant be sure what to do . or what should i do to sound well ?

May be my question will be more clear. How can i make substitution from A natural minor to A Phrygian dominant to sound well?

Thank you so much for help

Sample added

  • It would help if you could provide the chord progressions.
    – Caleb
    Commented Jul 30, 2014 at 2:08
  • May be my question will be more clear. How can i make substitution from A minor to A Phrygian dominant to sound well?
    – Alter
    Commented Jul 30, 2014 at 2:28
  • I understand what you are trying to ask. But could you provide the chord progression or an mp3 to your song?
    – Caleb
    Commented Jul 30, 2014 at 2:41
  • First of all . I want to share a sample,it sounds like mine. tindeck.com/listen/fgwp . It starts with A minor natural and then acid melodies starts with " different A scale.. . from 00.00 to 00.50 (a natural minor) . from 00.55 to end (A different scale-i mean Phrygian or Harmonic minor-), right? and how they sounds together well with different scale
    – Alter
    Commented Jul 30, 2014 at 3:24

2 Answers 2


Well, you can find some chords which have a relationship both in A Phrygian Dominant and A Natural Minor.

An A Phyrygian Dominant vamp would often just involve a bunch of harmonics with a tonic A drone note. But if you can find a way to construct an E7 chord or an E7b9 chord or an E7#9 chord at the end of verse 2, that would make a nice cadence to A minor. While A minor would rely heavily on an E7 chord to reinforce tonality, the A Phyrgian Dominant is a modal structure and less about chords, with more emphasis on reinforcing the root A. So I think some kind of cadential chord progression like E7 - Am or Bm7b5 | E7 | Am might be a good place to start.

Alternatively, you could play some riff or chord in A major, and then switch it to A minor. This kind of parallel movement can work too.

And music theory, at least as I understand it, isn't really concerned with finding and labelling "wrong" music. It's more aimed towards understanding structures and how they work. But as soon as you start writing music with altered modes, you can stop worrying about music theory because much of it applies to more conventional musical styles.

  • thanks for answer. as i wrote to Musicode. . I play melody as free and it is based on A but when i want to play on it add Middle East feel,it damages :( , i just cant solve this problem
    – Alter
    Commented Jul 30, 2014 at 18:41
  • @Alter It's not damaged. It's just something you don't like the sound of. Play something else!
    – Grey
    Commented Aug 2, 2014 at 11:10

I'm just going to post a quick response -- I think you may be thinking about this too technically! Music theory is not "static" and you can switch from any key, to any chord, to any melody or note whenever and wherever you want. Of course, it might not sound "pretty", so to speak, but that doesn't mean you are not "allowed" to do it. You are thinking too much in classical music theory rules. Classical music theory is the starting point, the foundation of modern harmony, but now it is up to you to be the experimenter. You need to try this out and use your ears! Try out any reasonable progression you can think of to connect these 2 sections. This could be through testing out all chord combinations in both keys, moving to a different key in between, etc (infinite possibilities).

In fact, I know I have experimented with this progression before, and recall it working, but its all about the preceding bars getting you there and the bars getting you out. And that is something that might take you quite a long time to develop, feel out, and hear in your head. Try improvising as many melodies and lines as you can to mix these 2 parallel scales. I don't think it should be too hard, since they are both of the root A. Vamping on a single root note usually sounds great with Phrygian Dominant, and you may be able to do a simple sudden modulation between the two scales. And, you may try out a ton of stuff and just never find something that sounds like it works, to you, and abandon the song all together! This is all a part of becoming a better, and more creative, developing musician.

One of the most satisfying and awesome things for me as I have developed musically, is to be able to connect some seriously weird scales, chords progressions, and just generally out there music together, improvising on the fly. And it's definitely not something I can do every day! When inspiration strikes, it can strike in some amazing ways that you have never heard or imagined before. (Hopefully you get it recorded, though! If so, lucky day)

Edit: And look, no real theory mentioned in this post.

  • Yes you are right,no doubt. But i have a mania that i want to give notes like Middle East sound thats why i search on it. I play melody as free and it is based on A but when i want to play on it add Middle East feel,it damages :(
    – Alter
    Commented Jul 30, 2014 at 18:39

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