Ricardo -> RE: Someone was asking me about Eb (Oct. 2 2014 14:56:48)
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The Mode is D#b phrygian I guess your "b" is a typo? [:D] What might help is to spell out the scale to compare the two keys: Solea por arriba: E F G(G#) A B C D mi bemol (D#): D# E F#(Fx) G# A# B C# The Fx is confusing to guitar players cuz we think of the note as G natural. It is a theory rule of spelling to not have the same letter twice so transposition makes sense. In practice most players just remember the G natural note can be used along with G#, and "Fx" (pronounced F double sharp) is not in the thought process. Another important result of having the 2nd scale degree as the lowest bass note possible, and the deepest or fullest sounding chord the music overall takes on the "aire" of Rondeña in most cases, especially when we use the home D# chord in first inversion. Just like with Rondeña, guitar players coming from other disciplines may recognize the "easy" way to deal with flamenco pieces in this tonality, is to think a lot about E lydian....indeed a lot of the development of the falsetas and what not explore this mode before finally resolving to the D# tonic. As a general rule in flamenco, the lowest OPEN bass note in a certain key (usually E) can influence a lot of the "modal vibe" going on with the falsetas. Some examples: Solea Arriba is certainly more E phrygian sounding thanks to the E note being lowest. Taranta often takes on an "E dorian" vibe... minera in G# really comes to life in the sections that go relative major (E major), granaina even oddly ends on the relative minor (E minor), and the modern pieces in C# phrygian often catch that E Mixolydian vibe. In rare cases "por medio" can call in the locrian over the low E bass, but it is not the most attractive mode to explore. (Impetu by Escudero as a few little spots). Speaking of "jucal" you can hear some of his falsetas transposed to A (por medio) in his accompaniment of Indio Gitano. Ricardo
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