Originally Posted by: ajweibeYes, it is an excellent scale. I never thought of it as being called the Phrygian Dominant scale, but I'm assuming thats derived from it's root as the V of harmonic minor.

My most practical usage for it is when there is a Dom7(b9) chord. When it comes to straight Dom7 chords, I'll stick with Mixoldyian when we're talking a straight 2-5-1 progression or blues. But when there's a dom7 chord out of the key, I use a Lydian b7 scale (speaks for itself, #4 and a b7).

Good talking with you on this gennation. I'm a third year student, 19, at Greensboro College studying under Greg Hyslop for jazz/classical guitar. I'm working on my bebop game quite a bit- so I always love talking about theory....just keeps my mind going especially on summer vacation. I'll check out your webpage. Keep in touch. [email]aweibe@gmail.com[/email]

Excellent. Sounds like you are into things heavily.

I was also going to mention, for those domb9 chords, also experiment with the H-W tone scale starting in the Root of the chord. It'll open up the diminished and symmetrical world for you.

With the Prhygian Dominant, Lydian Dominant (Lydian b7), and the H-W tone scale, you'll find you've opened up diminished phrases, or paths, all over the place. And, you'll find all the chromatic passages too.

I plan on doing a tutorial on a number of things along these lines. Time has been an issue though, and I have stuff in the works that needs to be completed ad released first.

Keep up the good work.