Ricardo -> RE: Which scales? (Dec. 17 2019 11:40:24)
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Otherwise, how would you name or refer to the scale/s used in Phrygian flamenco? The chord scale used for Roman numerals in tonal music is derived from the Ionian scale. It’s the ONLY one that can function as such. Within a major key EVERY kind of scale can come into play, hence you stop thinking that the MUSIC is based on a single scale and start focusing on the tonal harmony instead, and just think of it, if you must, as the “major scale”, which is subject to any chromatic accidentals. That’s why we have two names for the same “scale”. Terminology has evolved to think of the natural modes as derived FROM the major scale, so we must distinguish mode 1 from the major KEY at work. In jazz, ALL modes, not just natural modes, are not derived FROM but rather altered versions OF the major scale, and they use numbers 1-7. Oddly they don’t use key signatures or “moveable do” on paper. Instead “1” is the root of each chord in a chart. The minor KEY does not have a simple minor scale or mode that can work as the catch all Roman numeral system. What they teach generally is 3 scales, the combined 3 chord scales function with overlapping Roman numerals and several alternative options. In other words it’s ok in minor keys to have either iv or IV, as one derived from natural minor the other from melodic minor. Dumb rules like melodic up natural descending etc, derive from analysis revealing IV-V-i function in minor keys where the melody tends to alter the harmony going up, then change back to natural after the resolution to i. In the end, we note that chromatic accidentals introduce options of all scales just like major key is afforded. This distinction between how you analyze a minor key piece versus a major key piece is important because we would have to do the same for Flamenco. However, just like it’s wrong to think of minor key pieces as based on a single scale, we must also derive our Phrygian chord scale from a complex mix of scales...again all subject to chromatic accidentals just like major key does. If you want, you can start with mode 5 of the 3 minor key scales (Herrero and others only using 2), but might notice certain other ones need to be added to flesh out the chord scale. For example mode 5 harmonic major, phrygian dominant #7, mode 2 melodic minor, and of course the important altered scale tritone sub (II7#11...the tonic is not in this scale but it’s chord is uber important in context of analysis), all have important functioning Flamenco chords derived from their chord scales. So, major key= major scale subject to change. Minor key= minor scales subject to change. Phrygian key= phrygian scales subject to change.
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