Ricardo -> RE: Which scales? (Nov. 22 2019 6:03:17)
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The true dominant does not function, or almost never functions as a dominant in phrygian tonality. BECAUSE, the bII is doing that function, it’s not “incomplete” as you say. And in the macho/cambio applications it is a KEY CHANGE via the “true” dominant. Same as Picardy 3rd in minor. It’s not “true”, it’s a key change. Your predominant scenario names various chords that precede V in minor or major key. “Instability” chords you say. But when you ALTER them, they are not “instability” chords any more, usually you are creating secondary dominant chords...ie borrowed from a different key in order to tonicize some other chord in your progression. For example ii can be changed to V7/V. But in the case of flamenco your “instability” chords, are not the same ones that correspond to the minor key other than incidentally. Because everything is moving towards your II->I resolution. So for example III could be a “predominant”. Your vii could be pre dominant. VI sure is predominant, coincidentally. All the chords need to eventually take you to II so you can rematar to I. One that sometimes occurs is the “i” chord perhaps moving from vii up, with the goal of II coming up. So you don’t want to call “i” a “predominant” because it’s actually TONIC minor. But that IS how it’s functioning so you must say you have borrowed the ii-iii-IV move from relative major, in order to emphasize the fact you pivot keys between relative major->phrygian via the IV from major or II from phrygian. Fandangos does the same idea except in this case you are only borrowing from relative major, not coming from a previously established major key as is the case with fandangos. Remember to go in the opposite direction (phrygian->relative major), we don’t need a pivot chord, only the V/VI chord ie the V chord in major. This fact points back to II functioning as dominant for the phrygian tonality, plain and simple and “complete”. The “v” in phrygian is your minor7b5 chord, or half diminished. It’s nature is such that it not only functions as an “almost” Aug6, but it also can be the sub for III7, for II maj7#11, vii (minor 13) and even as tonic sus. But this versatility is also it’s weakness...hence we need to try to spice it up with some more color to give it meaning. And of course abandon it as the dominant to tonic function, just as we do in minor keys with it’s weak v chord. quote:
The dominant and its substitution in jazz work very differently than the II or Aug6 and the true dominant in flamenco. In Jazz F7#11 is the sub for BAlt. Both of these are derived from the F# melodic minor scale [f#-g#-a-b-c#-d#--e#(f). Limiting the possible voicings to a ninth you get: F-a-c#-d#-g#, or its substitution B-d#-f#-a-c# These are not flamenco chords. My conclusion is that tritone substitutions only work for solo guitar in advanced solo situations. When I say concepts and theories are culturally loaded, this is what I mean: the concept of "tritone sub" in jazz implies the derivation of two dominant chords from the same melodic minor scale. I agree “tritone sub” is a loaded jazzy term, I only was using it as another analogy to how the dominant-tonic works in flamenco. But since you brought it up....no you got the same chord used for TWO different scales. Flip the coin over. Super locrian and lydian dominant can switch out. But not only those two, whole tone ALSO works. And other fun stuff. Here is why it’s important to SPELL these chords correctly so when you improvise it doesn’t sound weird. (BD#F#AC# is a darn normal B9 chord, so be careful when you spell these...and both ARE flamenco chords LOL). If I play F7#11 and B7#9#5...both are the same scale C melodic minor. F is Lydian (#4) with only added b7. The idea of the B chord is enharmonic misspellings to trick the ear. It’s really super LOCRIAN, meaning the Bm7b5 (normal locrian) has b4 (maj 3rd), but minor 3rd (#9) and the b13 (#5) was already part of it. But F7b5 and Cb7#11... I would think of Gb melodic minor, for the same spelling reasons in reverse. So the tritone subbing is really about introducing the idea of a weird scale for improvisation, trusting that it “works” ie, doesn’t clash with these altered dominants. So the context of the rest of the song tells you which scale, lydian dominant, or super locrian will be the better choice. The corresponding “meaning” or elusive example of the tritone sub at work in flamenco....the Taranta (F#) uses these traditional super locrian legato licks based off of the dominant C#. That is D melodic minor... you hear it in those pull offs to open strings. However it’s “tritone sub” concept is it’s really G lydian dominant at work...but the flat 7 is the misspelled leading tone (b4 of super locrian) for key of F#, and we are back at Aug6 chords again. The G super locrian also works, and is the obvious bad choice for Taranta context. quote:
You could say that aug6 "act like," "function like,""or are similar to" dominant chords but then you have a problem: What about the instances where dm resolves to E, Bhalfdim resolves to E, or F resolves to E. In Flamenco there are multiple cadential possibilities and multiple chords can function as "dominants" (chords with some kind of tension or instability that resolve to the stable tonic triad [or sometimes less stable tonic 7th or ninth). Simply put, the vii is a WEAKER cadence. Bhalfdim is a crap cadence, as discussed above (like in major try to cadence G triad to Cmaj9 chord lol). F->E works but not strong as F7->E, stronger still is F9-E (montoya examples with melody dropping from G), stronger STILL is F7/D#->E (often done to fix the weak vii->I), and strongest is the F7#11->E with your supporting common tone, not so oddly is the v note just like our happy PACs and such.
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