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Kevin -> RE: In Defense of Theory (Jun. 24 2012 7:36:33)
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PS if anyone arrives at a similar conclusion in a paper, article, dissertation, facebook post, website lesson, or other, it is only LOGICAL. I would hope that anyone who does will understand that he or she is NOT the first person on earth to have noticed and understood such a thing.
Totally agreed. That cuts both ways but unfortunately your fans (no offense to you or them) seem to think that you are the only one that has come to those conclusions. At any rate, those ideas have not been published. Lola Fernandez and Manuel Granados are the only two to have offered decent flamenco theories. Sanlucar goes way out.
As usual, where we differ is in matters of detail. As an example, the circle of fifths was not developed fully until equal temperament became possible. ET was actually a push for being able to play in all keys. Flamenco came out of the Lament tradition in the mediterranean. The seguiriya and its predecessors are laments and are the only forms to actually follow the Lament bass as found in early guitar as well as Italian Opera. It is MY OPINION that the lament bass served as the foundation for the seguiriya but then flamencos ran with it. It is ONLY in retrospect that we can say the circle of fifths works within the Andalusian cadence. I have analyzed all of the early recordings and there is nothing that even hints at the Cycle. Early flamenco is at the crossroads of modality and tonality though decidedly leaning towards tonality. Throughout the century more and more "classical" material and then jazz (directly or indirectly) were APPROPRIATED by flamencos and used in their own way. In that way, it really came to resemble tonality.
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So in flamenco it is more than simply a scale we have but literally a "phrygian key". Inside you can claim to have the "andalusian cadence" etc, but all you really are dealing with is the circle of 5th related chord progression the same way you have relative major or minor. In that sense you actually are wasting time trying to claim special harmonies as per a phrygian chord scale...you have the KEY of A phyrigian with the ENTIRE chromatic scale fair game as any major or minor key has at it's disposal to use melodically, or for modulation or implied harmonies etc. The concept of "key" vs "mode" is important.
Actually, I am SIMPLIFYING. Any composition can be thought of as creative expansions of V-I (major), V-i (minor), or II-I (Phrygian). You have to learn how to compose a diatonic melody like Twinkle, Twinkle first. Then you learn how to color it. ONLY after simple melodies should you learn the "ENTIRE chromatic scale" and learn in context. I have been transcribing Paco and it is amazing how much he fits into the classical mold with a few jazz harmonies thrown in.
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More specifically we borrow the same use of accidentals as would occur in ANY minor key since baroque times...with the expressed understanding relative major or minor tonics are avoided AT LEAST RHYTHMICALLY so we can experience the phrygian tonic instead. So we share F major and D minor chords and scales, but come to rest always on A as tonic when dealing with the "phrygian key" of A.
I assume you are responding to AlVal. I would add that a true understanding of cadences is helpful; playing with expectation depending on the degree of finality of the cadence. An example I gave is Paco's use of bVI-I/VI goes to II-I or C#-F, Bb-A. He could have worked his way down from C# to C then Bb and A. Instead he deceptively cadences on VI(F) before using the remate as a vehicle for bringing the falseta to a full cadence (we have to clarify that a full cadence is whichever cadence is considered to be the most suggestive of finality according to the key Maj, min, or Ph. Any full cadence in any key would be considered a half cadence in any other and vice-versa).
I have a whole schtick on cadences and Douglas Green's book is my point of departure. You have to modify the theories to better explain flamenco but I agree that RHYTHM (and harmony since they both contribute to cadence) needs to be better elaborated.
Cadence goes with FORM and that will be something else I cover (Oooooops, SHAMELESS PLUG[8D]).
At any rate, although I have always appreciated your posts, Now if I am going to post anything I guess I will have to say THIS IS HOW I SEE IT and document it so no one can say my ideas are not original, if not in content, then in form of content and how I arrived at them.
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