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Manolo Sanlucar Didatic Flamenco DVD Set
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Ricardo
Posts: 14845
Joined: Dec. 14 2004
From: Washington DC
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RE: Manolo Sanlucar Didatic Flamenco... (in reply to Paul Magnussen)
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quote:
ORIGINAL: Paul Magnussen quote:
wouldn't that make his Mixolydian mode our Aeolian mode? Apparently not. If you go to the Wikipedia page on Mode (music) and click on Español in the list of languages on the left, you’ll find the modes written out, with their Spanish names, a little less than halfway down the page. Note that the Mixolidio goes from B to B, i.e. our Locrian. (Incidentally, several classical textbooks say that the Locrian is, in practice, unusable. I guess their authors haven’t listened to Joe Pass.) Not unusuable but rather unstable, due to the Flat 5th scale degree. Even jazz guys often prefer the Aeolian b5 as a more colorful thing to use over the half diminished (minor7b5) chord than straight locrian. In non modal contexts, it's usage gets downplayed by other harmonic stuff going on. For example Impetu uses it a bit but it all sounds like A Phrygian flamenco stuff in the end. To be proper "modal" sounding music, you need to hear just the bass note or chord for a long enough time to establish a mood or vibe with it. While I can find you an example of all the natural modes used as a basis for a single "song", I can't think of one single Locrian example. Back on topic I always found it interesting how Sanlucar uses both Mixolydian and Lydian modes a lot in his flamenco. For example the famous caballo negro is a Mixolydian Vamp first time used in the genre I believe. It has that cheesy American rock sound of course. Also he used Dorian a lot on the album with Carmen Linares. He also used the minor Phrygian sound and I think inspired V. Amigo to explore that as well. But again, put into context of other chords and things going on, modal flavors get washed out to sound as part of the whole tonal context.
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CD's and transcriptions available here: www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Aug. 13 2016 16:33:50
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mark indigo
Posts: 3625
Joined: Dec. 5 2007
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RE: Manolo Sanlucar Didatic Flamenco... (in reply to Paul Magnussen)
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quote:
Apparently not. If you go to the Wikipedia page on Mode (music) and click on Español in the list of languages on the left, you’ll find the modes written out, with their Spanish names, a little less than halfway down the page. Note that the Mixolidio goes from B to B, i.e. our Locrian. okay, so not having read Manolo's book, and only having a tiny snippet of info about his ideas (ie. his calling our Phrygian mode "Modo Dorico"), I assumed all the other modes followed the same sequence, just shuffled along one.... but no, I see that not only the sequence is different, but the set of names is different too. btw the Wiki pages in Spanish and English have the same info translated
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Date Aug. 14 2016 20:49:10
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Moloko
Posts: 63
Joined: Sep. 19 2015
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RE: Manolo Sanlucar Didatic Flamenco... (in reply to Paul Magnussen)
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quote:
Apparently not. If you go to the Wikipedia page on Mode (music) and click on Español in the list of languages on the left, you’ll find the modes written out, with their Spanish names, a little less than halfway down the page. Note that the Mixolidio goes from B to B, i.e. our Locrian. (Incidentally, several classical textbooks say that the Locrian is, in practice, unusable. I guess their authors haven’t listened to Joe Pass.) Indeed in the ancient times Locrian was unusuble because of the fact that the interval between the finalis (first degree) and the cofinalis (5 degree) is a tritone, it was not practical or desirable for that period's style (medieval and renaissance style) since these two notes (finalis and cofinalis) were the most important notes of the mode. In fact from what i know the locrian mode was first theorized by Hugo Riemann, in the XIX century, the same period Debussy, Ravel and others composers were starting to make neo-modal music... Of course in those times the tritone was not a problem anymore hahah
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REPORT THIS POST AS INAPPROPRIATE |
Date Aug. 14 2016 22:04:13
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