Excerpt 1:
The modes that developed in Europe during the Medieval period are sometimes known as the "Church modes" because they evolved through the use of Gregorian chant, the sacred monophonic music of Europe's Catholic Church during this period. The Church modes are derived from the Major scale. Each mode has the same notes as the Major scale, but each mode starts and ends on a different note from the Major scale. The seven modes that we use in jazz are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian.

This book is concerned with the Phrygian mode. The Phrygian mode is one of several important elements that took jazz out of the Be-bop era and into the sixties with composer/players such as Wayne Shorter, John Coltrane, Joe Henderson, McCoy Tyner and Herbie Hancock. In this book we will learn how to play and apply this mode to unlock a more modern sound in your jazz playing.

The Phrygian mode can be derived by starting and ending on the third note of a Major scale. For example, E is the third note of the C Major scale. Therefore, the E Phrygian mode starts and ends on E and contains all the notes of the C major scale.