A Phrygian Dominant scale can be considered a major scale as its home chord is a major triad.

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The intervals in this scale after the Tonic note are Minor 2nd, Major 3rd, Perfect 4th, Perfect 5th, Minor 6th and Minor 7th. 

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The Swars are Sa, re, Ga, ma, Pa, dha, ni – all Shuddh except re, dha and ni.

 

In a composition built on the A Phrygian Dominant scale, you would commonly find the triads A, Bb, Dm, Gm. Other triads you could play based on each of the notes would be C#-dim, E-dim, F-Aug. Of course, popular songs will often break these rules and could have other chords to match the music arrangement. 

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It is also very common to find the Dominant 7th chord built on the tonic or Sa very prominent in a song based on this scale. In the above example, an A7 chord (A, C#, E, G or Sa, Ga, Pa, ni) can be used very effectively to help reinforce the feel of the scale. 

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This scale is also equivalent to the 5th mode or inversion of the Harmonic Minor Scale. For instance, if you are playing in E (Phrygian Dominant), you will have the notes E, F, G#, A, B, C, D (Sa, re, Ga, ma Pa dha ni), which is really the 5th mode of the A Harmonic Minor scale (A, B, C, D, E, F, G#). 

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Here’s a fretboard diagram showing the notes in an A Phrygian Dominant scale. If you take the 5th note of the scale, which is D, as your Tonic note, you will get the D Harmonic Minor scale (D, E, F, G, A, Bb, C#)