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Flamenco Music Theory Pdf Flamenco music theory pdf Continue WHAT YOU NEED TO KNOW:1) Andalusian Cadence is a series of chords that gives flamenco music its characteristic sound: In Music, a sequence of notes or chords consisting of the closing of the musical phrase: the final cadences of the Prelude.3) This progression of chords consists of i, VII, VI and V chords of any insignificant scale, Ending on V chord.4) The most commonly used scale for this chord progression is the Harmonic minor scale (in C minor: B C D E F G))5) The most common keys in flamenco are the Frigian, known as Por Medio in flamenco guitar, and consisting of Dm, C, Bb. Another common key is E Phrygian, known as Por Arriba on Flamenco guitar, and consisting of Am, G, F, E. E Phrygian (Por Arriba) is often used in Solea and Fandangos Del Huelva.THE ANDALUSIAN CADENCE: Today we will discuss really common chords and sound in flamenco: Andalus Cadens! Learning more about this sound will help the audience better appreciate flamenco music, provide flamenco dancers with a better understanding of the music that accompanies them, and non-flamenco musicians some basic theory to incorporate flamenco sounds into their music. At this point, if you want to skip the theory and just listen, go to LISTENING: ANDALUSIAN CADENCE IN THE WORLD. I would recommend reading the pieces of the theory just for some context. MUSIC THEORY: CHORD PROGRESSIONThic series of four chords is so ubiquitous in flamenco that anyone who listens to it should know it when they hear it. This chord progression (or the location of the chords) is called the Andalusian cadence because of its close connection with music from the Andalusian region of Spain, which is the region and culture from which flamenco music originated. In music, cadence is a sequence of notes or chords consisting of closing a musical phrase: the final cadences of Prelude. Cadence is also known as the Frigian Cadence in Western/Classical Music Theory. This name comes from 7 Greek regimes. In a nutshell, for those of you who are musically literate, if you're familiar with you C on a large scale (C D E F G A B B C), the Phrygian scale consists of the same notes as C of Large scale, but starts on a note E (E F G A B B D D E). Think of it this way: if you start and finish on each of the different notes at the C scale, you'll end up with 6 different scales with their own sound (7 if you include the original large scale). These scales are called modes and are often considered as in relation to the main scales from which they share notes. For example, F Lydian is the 4th B B B D E F (F G A B D E F F) mode, and G Mixolydian is the 5th mode (G A B C D E F G). Note that F is the 4th G is the fifth. MUSIC THEORY: HARMONIC MINOR SCALE: Finally, in order to understand flamenco, you also need to familiarize yourself with the notes and sound of the harmonic minor scale. The small scale, also known as A Aeolian mode (6th major C mode), is where we should start. A small scale consists of notes A B C D E F G A. Harmonic insignificant scale is the same with only one note of change: G'So, harmonic minor A B B C D F G'So, what are the chords of the Frigian cadence? The most commonly used key in flamenco is E Phrygian (or minor, depending on how you want to look at it). The chords are: minor, G major, F major, and E major with flat 9 (F natural). Am, G, F, E basic add b9Notating it in numbers, so it's easy to transfer to different keys: I, VII, VI, Vb9Note, that scale that fits all these chords is best melodic minor (A B C D E F G)Am: A C EG: G B DF: F A CE basic add b9: E G we're actually in E Phrygian and finishing E major add b9, so we're actually building chords and harmonies on the 5th mode of harmonic minor scale 9 (E add b9 is the end or phrase). This scale is called the Phrygian Dominant Scale (E F G A B B C D E). Note that this is the same as the E Phrygian scale (E F G A B B D D E), but with G . LISTENING: HEARING THE ANDALUSIAN CADENCEFlamenco dance music is accompanied by guitar, and there are two very common versions of this cadence on the guitar that you can listen to, each with a slightly different sound. Below are video demonstrations by me of the most common chords in some of the most common forms of flamenco dance: Por Medio (Frigiana Key), commonly used for Buleria and Tangos Arriba (Key E Phry Gian), widely used for Solea and Fandangos Del Huelva Harmonic Minor Scale IN CONTEXT: SOLO AND DANCE MePor A good example of chord progression is 0:28-0:32: Arriba (Fandangos Del Heulva): Here's a good record with a dancer and singer. You can hear the chords in 1:53 - 1:57: Flamenco Play mode (help). In music theory, the flamenco mode (also a major-Phrygian) is a concerted mode or scale, abstracted from its use in flamenco music. In other words, the collection of pitches in ascending order, accompanied by chords, is resins and chords used together in songs and works of flamenco. The key signature is like that of Phrygian mode (on E: no accidents; on C: 4 apartments), with the third and seventh being raised being written in as needed with chance. Its modal/tonal characteristics are prominent in the Andalusian cadence. Two possibilities for climbing and descending over the tonic in flamenco Play mode (help'info): chromatic tetrachord (E-F-G♯-A) and/or Frigian tetrachord (E-F-G-A) Play (help'info). There are three fundamental elements that can help determine whether something is flamenko: flamenco mode - or musical tonality-; comp's -rhythm - and performer ... who should be flamenco! ... For example, if a composer writes a song with a flamenco key, commonly referred to as a regime, without two other elements, the composer will not write a flamenco piece. Flamenco, which is a harmonious system of false relations, is, in the words of Manuel de Falla, one of the wonders of natural art. Only flamenco guitar, de Falla noted, can adapt flexibly to ornate melodic decorations (including melisma) of flamenco mode. Accurate chords depend on the shape of the song (palo) and the positions of the guitar chords, as the chords in flamenco often include non-trivial resins, especially open strings. Characteristically, III, ♭II, and I appear as dissonant chords with a minimum of four tones (e.g. seventh chords or a mixed third chord). Since the tetrachord, beginning on the tonic, can rise or descend with G-sharp or natural (Phrygian tetrachord) the collision of mixed thirds between the main third degree (G♯) in the melody and the insignificant third degree (G♮) in the accompanying harmony occurs often and characteristically for the aesthetics of flamenco, as with the blues scale on the major chord. Increased sixth chord: B7♭5/F-E or ♭II42 -I Play (help). Flamenco-style melismis from the first part of the Sonata Cassado for cello (1925), m.29-30, part cello (the figure first appears in the piano in measurements 1 and 3) (Play (help)) flamenco mode with two Frigid Tetrangords Play (reference), also known as gypsy minor scale. This tetrachord can be copied in the second, producing the D♯ and resolution of the enlarged sixth chord in the second degree: B7♭5/F., Lou Harrison composed Sonata in Ishartum (1974 or 1977), which was arranged by Tolgakhan Ooglu (2001), part of his suite. At the beginning of the scholarship against the Babylonian cuneiform inscription tuning tablets from the eighteenth century BC, Ishartum was equated to a modern Phrygian, but is now considered the equivalent of an Ionian regime/large scale. Arrangement of zuzulu, at least, is a white note mode on E in Pythagoras tuning, (Play) : F-, C-, G-, D-, A, E, B (F♯, C♯, G♯), or E (1/1), F- (256/243), G- (32/27), A (4/3), B (3/2), C- D (16/9), E (2/1), with G♯ time 81/64. Cm. also the Phrygian dominant scale of the Upper Leading Tone External Links Sources and Martinez, Emma (2011). Flamenco: Everything you wanted to know, page 6. Mel Bay. ISBN 9781609744700. George, David (1969). Flamenco Guitar: From his birth in the hands of Guitarrero to his final celebration in the hands of the flamenco guitarist, p.111. Society of Spanish Studies. (ISBN is not specified). a b Fernandez, Lola (2005). Flamenco Music Theory: Rhythm, Harmony, Melody, Form, p.77. ISBN 84-609-3514-0. Tenzer, Michael (2006). World Music Analysis, p.97. ISBN 0-19-517789-4. Fernandez (2005), p.78. Gabriel Kaufman (2016). Gaspar Cassado: cellist, composer and transcription, p.134. Taylor and Frances. ISBN 9781317130963. Michal, Ulrich (1982). Atlas de Musica, p.87. Fernandez (2005), p.79. Fernandez (2005), p.79. Josephson, David Lou Harrison: Sonata in Ishartum; Music for solo guitar performed by David Tanenbaum on Other Minds 8, 2002archive.org. Greve, Martin (2018). Makamsiz: Individualization of traditional music on the eve of Kemalist Turkey, p.187. Ergon Verlag. ISBN 9783956503719.
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