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Ricardo -> RE: Alejandro Hurtado (Aug. 30 2025 18:34:42)
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quote:
ORIGINAL: devilhand
Thanks for the explanation. The key change was por medio -> A major? Similarly one can modulate from por arriba to E major key?
This is new to me because I've only heard modulating between relative major and minor keys is common practice in flamenco.
quote:
Also there are brief sections that modulate to A minor during the Tanguillo section, which is basically the same as Tangos de Malaga or Farruca guitar forms.
Timestamps?
A major to minor to phrygian are called "parallel" modulations. That is in contrast to modulation to relative keys or modes, or modulation by 5ths, 4th, steps in the scale etc. Parallel means you modulate or change mode based on the same root note. Modern jazz rock guys use the term "pitch axis" where you hold a root bass note and change the scale around it.
In flamenco guitar this occurs, or is learned, via cante accompaniment. Often the conclusions of the darker phrygian cantes in Solea siguiriyas, bulerias, etc., will introduce the "cambio" with the voice (for example Bb become B natural por medio, or in arriba the F natural becomes F#), and this forces the guitar to play a dominant 7th from the major key (B natural in A Phrygian calls in the E7, as opposed to other chords like G7 etc.). So I often wondered, as a trained musician learning this stuff, WHY we only had limited harmonic options to accompany the cante, but it turns out the tradition is dictating that to the guitarists and is part of why it takes years to learn simple chords for songs. There is a lot of learning memorized melodic phrases of the cante, so that the singer can "lead" the guitarist harmonically with "code" notes and the like, as attached to the poems. It is why we had long discussion before about whether or not knowing the lyrics is important to accompanying...it is a "yes and no" nuanced thing. The "code notes" thing is more important than lyrics in a musical sense, and we see non- native speakers accompanying just fine based on that info, however, you need to know enough about the language to know where you are inside the poetic structure, which line is repeating etc.
Anyway, in the performance the modulations to A minor occur at 3:05-3:10 and briefly at 3:44...at 4:06 is a brief modulation to C# minor. When these types of modulations occur today by a guy like Tomatito, people say "oh that must be his Jazz influence". [8|]
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