Phrygian Chord Progression: Why It Doesn't Work (Part 2)

In the above example, if you change the D♯ to D or E, you lose the leading tone and the tritone.
If, instead, you raise the F♯ to G, you get the chord B7♯5 (B seventh, augmented fifth), which removes the tritone and the resolution potential to the third note of the tonic scale. (And, of course, the D♯ note remains a problem.)
If, instead, you lower the F♯ to F, you get the chord B7♭5, which removes the perfect fifth interval and introduces a second tritone (B – F, in addition to the B7 chord’s normal tritone, D♯ – A). The battling tritones negate the directionality of the chord.
If you try to change both of the non-modal notes, you get similar undesired effects. For example, if you lower both D♯ and F♯, you get the chord Bm7♭5. Mere anarchy is loosed upon the world. (Try it!) Indeed, the blood-dimmed tide is loosed, and W. B. Yeats rises from his grave, looks around, and spots Johann David Heinichen, also arisen from his grave, autographing copies of the Circle of Fifths.