Ricardo -> RE: Modern Flamenco Tones,chords .ect. (Apr. 12 2005 2:56:51)
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quote:
Like Vicente Amigo does in "Cordoba(solea)", he "modulates" from Eb to E"Por Arriba", But i'm slowly understanding it. yeah that one really jumps out at you. Personally I didn't find it all that convincing, but I understand why he wanted to bookend the solo. From E phyr. to D# he uses a special fingering for the E chord so it gives you the E maj7. In phrygian the II chord functions as dominant, so that helps to pull our ear towards D# phryg. At the end it is strange. He takes the same Emaj7 shape and slides it back a fret, so it is Ebmaj7. It implies a D phrygian tonality shift, but instead the next chord goes to the relative major chord, Bb maj. (That would be like faking out in a normal Solea, moving from F maj chord to C maj instead of E). The Bb moves smoothly to the F chord which normally would be a dominant 7th chord (like moving from C to G7 in normal Solea), but he cleverly throws in a B natural (#4) note into the chord, which is the characteristic "lydian" note, forcing the "dominant II chord" sound, which brings us back to E phrygian. One note did it. Vicente's suave movements and style make it morph smoothly, but I am not sure this would be such a convincing movement w/ a more aggressive rhythmic style of playing. In flamenco it is ok to just modulate without a long progression, just jump right in. But usually a II chord or V chord works the best. So Cordoba was: Begginnng: Am,Cmaj7,Fmaj7,E(b9) /Am7,Cmaj7,Emaj7,D#(b9) Ending:Emaj7,Bmaj7,E,D#(b9) /Emaj7,Ebmaj7-Bbmaj7,Fmaj(#4),E(b9) Ricardo
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