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Ricardo -> RE: Chords for Granaina y media Granaina (Oct. 19 2011 17:05:01)
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quote:
I’m confused by the reference to F as the 4 chord in the key of E Phrygian: I would have expected 2. Is it because the melody has temporarily modulated to C?
Yeah that is correct. The entire form of pretty much all fandangos based cantes goes to relative major, so you then say C is I, F is IV, G is V, and Am is vi. Em would be iii, but since it is major we must say V/vi or "dominant 5th of the minor 6 chord". At that point it (the E doesn't resolve to Aminor, it rests here) becomes tonic so the true analysis might read II-I as per the andalucian cadence. All the fandangos are basically:
V-I
I-IV
V-I
I-V
V-I
I-IV (II or II7)-V/vi (I) as we tonicized this chord for the phrygian sound.
Often times the guitar will only play the chord on the right hand side, or do a melodic answer that implies the chord on the left, but resolves to the chord on the right. Some variants make use of the vi chord and other passing chords such as V7/V (D7), V7/IV(C7), V7/iii (B7). Some other variants of Malagueñas or Taranta/o might omit (as discussed above) the opening I-IV move, answering instead back to I, (or go to the V like in Taranto) saving the IV for the dramatic conclusion that returns us to Phrygian mode. And still others you might hear the voice use secondary dominants yet the guitar sticks to the form (sounds like wrong chords). For example, in many malagueñas the voice ends on a Bb after the C chord, yet you have to play an F chord. And later the voice will land on an F, but you have to go back to C.
That is why they tell guitarists to "listen to the cante"...what they mean is you have to focus on what the guitar does for the singer so we don't try to invent our own harmonic ideas about how to accompany.
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