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Ricardo -> RE: Bulerias- The major key shift (Oct. 27 2011 20:42:01)
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quote:
So yeah, how important is this transition (usually to minor, since people tend to just play the E7 when they want to go to major), what are different ways of doing that transition, and how might one go between phrygian and minor without it?
The practice need not be some musical exploration. The guitar is simply imitating the singer with this idea of parallel modulation. In that sense, a single note can signal the change. For example in buleria por medio or alegria, the C# just becomes natural and bam, you are in the new key of A minor. Fandangos is a special form, not done the same improvisational way as the other forms, and as pointed out I would term it RELATIVE key change. Strange the relation is between phrygian and major, but still the same concept as say when Bach would modulate Am->C major and return to Am.
The reason we use the term "parallel" is because the root of the key center stays the same, but the key signature changes. In this some way, we are thinking more "modally" as if we have a drone to obey. You will notice in flamenco brief excersions into other "parallel" modes such as A mixolydian from A phyrgian or A dorian from A minor.
Anyway, because the idea is to immitate the cante, you will find these type of sudden key changes in most palos, EVEN FANDANGOS. The famous fandango de huelva moves from E phyrigian to relative minor A minor, then becomes A major, a parallel change, then back to Aminor etc, and finally F-E brings in Phyrgian again.
The idea that we NEED a transitional progression of chords is just a compositional tool some players use, thinking more as composers then accompanists. But it is not necessary.
Ricardo
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