|
Steelhead -> modern flamenco harmony: specifics? (Nov. 20 2014 13:09:46)
|
Estimated flamencologists (perhaps mostly guitarists),
Can you help me specify some of the features of modern flamenco harmony? There are some borrowings from jazz (altered chords [maj 7, min 9 etc], occasional ii-V-I progressions), some exploration of standard Phrygian tonality in new guitar keys (e.g., D# Phrygian), but I’m more interested in the new chordal patterns and progressions that are unique to, and increasingly common in, modern flamenco—perhaps such as the use of different Phrygian cadences, keys, within a single piece (as in “Zyryab”). I hear people such as Chema Vilchez, or even PdL in certain songs, using very idiosyncratic, intricate chord progressions, but many of these may be one-time events, not necessarily representative of broader trends in any sort of modern ‘mainstream.’
On a larger scale, I’m interested in the ways in which an original and unique jazz-flamenco harmony may be emerging (rather than fusions that seem to be harmonically based clearly in just one or the other).
I’d appreciate any thoughts.
|
|
|
|
