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John O. -> RE: need help with f#m chord progression (Apr. 16 2011 13:34:39)
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There's really no problem with it. The phrygian can alway be either a dominant 7 moving up to the minor or it can go up one to the lydian 7th and back down to a minor, just like this guy does. The latter isn't a "trick", it's a very cool and interesting change - I've heard it i.e. in modern Soleares from Vicente Amigo and others. It can sound a bit unresolved as an ending but here I think it's okay. Shew's singing pentatonic, not typical for siguiriyas anyways...
He's just playing with different chords. You can just play arpeggio through the chords F#m7, C#dim, Bm, C#dim, F#7, Bm, Em, F# for part one then Bmin, Em7, D#dim slides to F#dim, Em7, A#dim, Bmin, G7, F#m for part two.
To stay true to the key you can put the capo up to 7, try looking at Granaína falsetas and transposing them rhythmically to siguiriyas. Chords like D7 to G7 then Amin7 over A#dim to B7 played like a bar but leaving the G string open.
Really though, the falseta is yours to choose and play. The guitarist otherwise rarely gets the chance to be creative. If it works but she doesn't like it that's okay, but if she can't sing what she would rather have, give you a recording or play it for you on a guitar that's her tough luck.
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