mark indigo -> RE: non-standard keys in standard tuning (Sep. 7 2008 12:54:33)
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quote:
For example, a G chord is used differently in E-F playing than it is in B-C playing, do you know what I mean? That would make for an interesting analysis of the basic music theory involved in playing flamenco guitar. If you mean that it has a different relationship to the other chords in the key, and a different function within that key, then yeah I do know what you mean. ie in por arriba/E phrygian G is the 5th/dominant of the relative major (C), whereas in por granaina/B phrygian G IS the relative major. Just for the sake of the theory I think of the relative major as 1 and everything relates to that, so in por arriba/E phrygian, C is 1, D is 2, E is 3 etc., in por granaina/B phrygian, G is 1, A is 2, B is 3 etc. In Solea por arriba, I still think of E as "home" or tonic, even though I assign it the number "3" (F is 4, G is 5 etc.). That way in cantinas in C, E is still 3. I don't know if that makes sense, but I got it from Jingle, and it works for me. Part of my interest in exploring these other keys is theoretical, because of the mode scale patterns. There being seven modes, and seven patterns based on them covering the fingerboard, when each pattern is played in first/open position, you get one of seven keys. If I play a bit of solea (E phrygian), bulerias (A phrygian), granainas (B phrygian), tarantas (F# phrygian), and alegrias in E and A major, I have got six of them, so I need something in D# to make it all kind of neat and tidy! (yeah, I know, it's kinda geeky) quote:
I get the impression, though, that you're more interested in unusual combinations like a guajira in C major or a siguiriya in F# Phrygian Well, I'm that's sure interesting, but in a way i'm actually less interested in one offs than in general trends. And I'm also interested in the way that a one off (such as, say, if Mario Maya starts to play in D#) gets passed around (such as, as you say, by David Serva) and ends up being a common phenomena ('cos they're neat stories!). I'm not likely to get asked to play something that is a one off, but it might be expected of me to play something that has become quite common. As I play for dancers I tend to be much more au fait with a compas stuff than actual tarantas and granainas etc., so it's sort of more natural for me to play bulerias, tangos etc. with F# and B (as well as E and A, not instead of!). The interest in "who did it first, when?" is partly just general interest/curiosity, but also as when I started with flamenco I listened to and learned a lot of older styles, as a kind of base to build on, so it makes sense to me to start at the beginning as it were with new keys. So far the "easiest" thing in D# I've found is from the Encuentro Enrique De Melchor, which is a couple of falsetas from the track "Callejon Del Aire" on La Noche Y El Dia (on the cd it is not easy to hear the guitar as there is a whole group with flute etc on there).
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