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JasonMcGuire -> RE: Minera (Nov. 11 2010 7:52:54)
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quote:
Maybe learn the Minera of Ramon Montoya. Its in a published book called
Genius of the flamenco guitar - Thirteen pieces of Ramon Montoya.
great suggestion..... after studying that and some Sabicas perhaps, maybe Vicente too...... use the open A string as a pedal tone (keep repeating it underneath other chords and melodies)...... noodle E major scale tones on top.... make the parts of the triads in the key of E major over that A pedal tone..... B major, C#minor (over the A creates an Amaj7), A major (try sneaking a D# note in there ornamentally, how does that sound?), Now make that A major chord a dominant 7th chord by adding G natural.... still use that D# ornamentally..... take it a step further.... run an E melodic minor scale around while that A7#11 chord you just created is still in your ear. If you don't know the notes of an E melodic minor scale..... look it up. Don't be lazy. Its just 7 notes..... not rocket surgery [8D] by any stretch of the imagination..... now you could resolve to that totally bichin' Ab phrygian raised 3rd chord (see TAB below), but why not take this thing a bit further...... start using some C naturals against that A pedal tone with the G natural and keep and F# in there to create an A minor 6 chord and then BAM! resolve. Don't hang too long there on that A minor 7/6 chord. Its the final word quickly stated before killing the progression. A common melody fragment to resolve would be something like. C#,C,D#,C#,C,A,G# in some form or another. Ligados are common but can be overdone so be careful. The common voicings for the resolution chord are below.
Now check this out....... Minera is in Ab or G# Phrygian..... E major is the relative major.... highjack some stuff from Alegrias..... use my video on Alegrias harmony I recently posted..... be brave..... have fun..... it won't kill you. .... Hang around in the lightness of the E major color for a while and then do some of the stuff I mentioned before with the A pedal tone. Resolve back to the Ab Phrygian Raised 3rd chord...... now thats 2 falsetas....[8D]
here is where it gets groovy....... E minor is the PARALLEL MINOR of the RELATIVE MAJOR..(E major).... its relative Phrygian is B Phrygian......... Granaina...... BINGO!!!!!! high jack some material from Granaina..... but ease into it perhaps starting from a nice C# minor color first. You know..... C# minor...... noodle, noodle..... F#7 moving to B major (or use the Taranta chord and do a Taranta run (F# phrygian/Bminor/Dmajor or if you want use F# Octatonic, half-whole diminished scale) but resolve on D# instead of D natural, bringing the B major color into focus from an less expected approach pattern.) NOW BAMMMMMM! B major is your pivot chord for that Granaina material..... B,C, Aminor,E minor, D etc....... head back to B Phrygian just as Granaina does inevitably but instead of resolving to Ab Phrygian Raised 3rd (A7b9 for all intents and purposes) via that A Lydian Dominant Chord A7#11, use first Ab minor 7th, G minor 7th, F# minor 7th, then keep the F# minor 7th and add a G natural in the bass...... a dramatic picado or Alzapua or some other flashy thing like a ligado run or something...... BAM hit that Ab Minera chord like you really mean it and your done......
If you want to milk it..... do some tremolo in there somewhere....
DIY Minera..... have a blast.... be creative.
here is some chord names to help in the search.
Bmaj/A, Amaj7, A7, A7#11, Amin7, Amin6, F#min7,F#min7/G, G#7b9, B7, B11, Emaj, Fmaj,Emaj (like Sabicas [:D], notice that E,F,E solea relationship?...... do it man, don't think twice, its allright), A6, A6/9, G#min7, G#min7#5, C#min7,F#7,Bmaj,E7, A, Amin7, G#7b9, D7#11, C#min7,D7#11, C#min7, D#min7b5, B7, B7b9, Emin, D, C7#11, Bmaj,B7b9,C,B, A, A7#ll, Amin7, G#7b9
hint about E melodic minor..... same as E Major with the 3rd note lowered one fret.
and for those who need it the main Minera Chord is generally voiced one of several ways.....
--0-----X-----4--------------------------
--0-----1-----4--------------------------
--5-----1-----5--------------------------
--7-----1-----7--------------------------
--6-----0-----6--------------------------
--4-----4-----4--------------------------
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