F# Phrygian Charango Scale — Standard
Charango scale in Standard tuning — fretboard diagram
F# Phrygian in Standard — Notes and Intervals
The F# Phrygian scale is the third mode of the major scale, defined by its immediate dark and tense character. On Charango, its notes are F#, G, A, B, C#, D, E. It has a strong Spanish or ethnic flavor, making it the definitive sound of Flamenco. In modern contexts, it is widely used in heavy metal to create an aggressive, brooding atmosphere. The diatonic chords of F# Phrygian are F#m7, GMaj7, A7, Bm7, C#m7b5, DMaj7, Em7. Commonly used in Flamenco, Metal, Djent, Middle Eastern. Notable players include Al Di Meola, Metallica, Meshuggah, Paco de Lucia. Use over sus(b9), m7 chords in Phrygian contexts. Often played over a droning root note or power chord. The b2 → 1 resolution is the mode's signature move.
Notes: F#, G, A, B, C#, D, E
Intervals: 1P, 2m, 3m, 4P, 5P, 6m, 7m
Degrees: 1 b2 b3 4 5 b6 b7
Formula: H-W-W-W-H-W-W
Number of notes: 7
Tuning: Standard (G-C-E-A-E)
Diatonic Chords
F♯m7 — GMaj7 — A7 — Bm7 — C♯m7♭5 — DMaj7 — Em7
About Standard Tuning
The charango is a small Andean string instrument with five courses of doubled strings, tuned G-C-E-A-E. Its reentrant tuning — with the 4th course (A) lower than the outer courses — combined with its tiny body and nylon strings produces a distinctive bright, shimmering tone that evokes the high-altitude landscapes of the Andes.
Originally crafted from armadillo shells in Bolivia and Peru, the modern charango is the soul of Andean folk music. Its ten strings (five doubled courses) create a natural chorus effect, and the reentrant tuning produces a compact voicing range where strummed chords have an almost harp-like quality. Groups like Los Kjarkas and Inti-Illimani brought the charango to international audiences, while virtuosos like Jaime Torres and Ernesto Cavour pushed its technical boundaries. The charango is essential in huayño, bailecito, and carnavalito rhythms.
Notable artists: Los Kjarkas, Jaime Torres, Ernesto Cavour, Inti-Illimani, Gustavo Santaolalla
Best for: Andean folk music, South American ensemble playing, and any composition seeking a bright, shimmering Andean texture