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Ricardo -> RE: Joaquin de Paula Cante Defining Characteristics (Nov. 28 2022 11:56:59)
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quote:
It seems that G#>F>E move to the tonic, gives the Phrygian sound.
So the Phrygian sound, relative to guitar chords, is achieve just by the F-E alone. While you do hear the G# in the first line, often G natural is what we hear later on. At 1:36 Indio Gitano does move G natural to F#. I had previously stated that you could do a B chord there as it is very prominent. The F# pulls us OUT of the Phrygian scale hence the term “Cambio” comes into play regarding that type of chord for guitar players. However, Indio’s use of it right there is not really intending to pull the guitar there, he is more embellishing the G natural.
You may notice the Transcription of Whitney shows Talega move UP the scale E F# G# to A. That is called, or relative to the guitar which fills in the rest, the MELODIC MINOR scale. Then we see G natural F and E moving down and up by steps. So the concept you sometimes hear in Theory classes is “melodic minor is raised 6 and 7 going up, and natural notes descending”…. As if this is some sort of music “rule” …then everyone gets bent out of shape that encounters a descending melodic minor scale as we use in Jazz. Well, it seems students miss the entire point (perhaps teachers too) that the harmony concept of the melody is dictating these practices. The solea chords move E or E7 to Am, then G-F-E. Basically mapping out the accidental pattern. If you listen and pay attention to the Martinete and other cantes sin guitarra you notice the same type of thing happening where there is a mixture of melodic minor and natural minor scales etc.. except this is all done in a supposed “Phrygian” Arabic style modal environment.
That thing you point to G#-F-E is similar to the hi jazz or Arabic Makkam we had once discussed, and I pointed out that this NOT what flamenco music does (not exclusively), the concept is instead changing equal tempered chromatic notes against the harmony, ie it is not a static scale. We do hear that intervallic relation at times, but when it is done it stands out. Normally it is that EFGFE figure that is plenty to get us that E phrygian chord we play. In the end, you see the voice using the notes EFF#GG#AB….almost the chromatic scale taking shape (as I have argued for in the past regarding what scale does flamenco music use?). Other styles make use of C natural. Extremadura makes use of the Bb. Frijones and Andonda get up to D natural, quino up to E the octave, apola extending above that even.
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