Chord Scale Analysis of the Phrygian Mode
The Phrygian mode of the Major Scale is the only minor mode to have a minor second off of the root. This can be used to great affect in melody writing, as it provides and about 1.86 ounces of dissonance. For a good example of Phrygian mode usage, listen to Woodpecker from Mars off of Faith No More's 1988 album The Real Thing. The Phrygian is a tonic mode, and can be used to write melodies over the Ionian or Aeolian modes as well. It takes a minor seven chord, but and has the most avoid notes of any minor mode off of the major scale. The flat two, the four, and the flat six are all off limits for chord construction.
Analysis of E Phrygian
E (Root)
F (Scale Flat two, or Scale Minor Second)
G (minor third, or Flat Three)
A (Scale four, or Scale Perfect Fourth)
B (Five, or Perfect Fifth)
C (Scale flat six, or Scale Minor Sixth)
D (Minor Seventh, or Flat Seven)
Avoid Notes
Since the Phrygian mode has so many avoid notes; I bet everyone is wondering why the hell anyone would want to use this scale at all. Well, it's the avoid notes that make this scale so friggin' cool. The reason they are called avoid notes is to make you find a use for them. Since when have good musicians followed the rules? Anyhow, the minor second just makes this mode, and you can use it to great effect. Just be sure not to voice it in a chord unless you enjoy the sound of the insidious flat nine, same thing with the minor sixth. The minor sixth and the fourth are also on the list of avoid notes for another reason. The Minor sixth is the root of the Major Scale, and when you voice the sixth in the chord, it will change the feel from that minor sound to a major sound. The fourth is also the sixth of the Major Scale, and will take your nice Phrygian chord and transform it into and equally nice, but not really what we're looking for Aeolian chord.