Ricardo -> RE: Which scales? (May 9 2020 5:13:57)
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quote:
ORIGINAL: devilhand quote:
ORIGINAL: Ricardo quote:
It looks like no one knows it. Even Mr. Marlow doesn't seem to know it too. [8|][:D][:D][:D][:D][:D][:D] It’s like the hundredth time myself and others point you back to page one of this thread. You are are broken record dude. You're a bit confused, aren't you? It's the year 2020. 16 years have passed since 2004. Last time I’m gonna help you with this subject. The section of the video you asked about has been addressed thoroughly in this thread going back to page 1 when burdo and others described the 8 note scale (same hybrid mentioned in your video that references both Arabic and blues practices). Here I quote myself from page 6 of this thread, I was critiquing the music theory explanation in Claude Worms book, loaded by Mark indigo, specifically at the request of kitarist. The quote I chose here is saying the same thing I’ve been reiterating through this entire thread topic, and the fact you pointing it out again, and further say nobody understands or can expound on it, is beyond frustrating to the point of insulting. If you were not intending to be, then you just need to read everything more carefully. Please. quote:
Ok so next the “unstable third”, already flying in the face of “identical” to the Greek mode, so what’s up with that? Anybody that might have already encountered music in the key of A minor, probably has noticed the issue of the G being raised for the sake of the Dominant chord “E major”, and the issue with the flamenco mode here is no different. “Unstable” therefore, is a poor word choice, implying perhaps something like what happens in blues. This fact needs to be pointed out immediately so that someone that understands this concept already (how and why the G changes in A minor key) can relate better, and not think the author is describing some other bizarre exotic thing related to Ancient Greece, medieval times, or other! (Indeed, I think it’s why folks go on about a nonsense 8 note scale, but never do that for basic minor key songs!) You can insert your video example in place of “other!”, and consider the issue addressed. To further drive my point, the vid example of Maria singing she is singing over the F chord so it’s not raised third, it’s #2, it’s approached from the natural 2...”de menos” is G-A-A-G#...she drops to F-E note for E chord. The next scale going up called “flat 3rd”, again a scale FGABCBC over or leading to F chord, or lydian scale, but comes down BAG#voice crack F# held. I repeat F#!!!!! Then she repeats de menos. So no minor or major thirds in context... you have chromatics over an F chord (lydian vibe) that finally resolve to E in the example. The song is called buleria larga. On the held F# it’s not wrong to toss in a B7 chord if you are good, so long as you still catch F-E resolution with her. Her guitarist is using Dm chord in place of F at times. (If you cant tell I’ve transposed it all to Arriba for ease of description and relevance.)
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