MusicTheoryForFlamenco by Unknown

Author:Unknown
Format: epub

Basic Phrygian Mode Chord Substitutions The Phrygian Mode uses characteristics of both the major and minor scales, with a number of important differences. If the chords of the Phrygian Mode are characterized according to Roman numerals starting with their “tonic” (technically called the final), then the basic “Question-Answer” relationship is provided by a II -> I progression. For the Key of E Phrygian Mode, this would be the progression F -> E. Here the E is a major chord (the “pure” Phrygian mode in the key of E is defined using a G, relative to the natural minor). The (Phrygian) I major chord makes the progression much stronger and in addition functions as the dominant to the relative minor (Am for the case of E Phrygian Mode). The natural note and chord (G) appears in the III chord in the progression; the chord’s position in the progression determines which note will be played in a falseta sequence. There are a number of important substitutions that can be made in the Andalusian Cadence. The II chord is often substituted for the IV chord in the Andalusian cadence, which gives the progression (E Phrygian): F -> G -> F -> E; the relation to “question -> answer” is obvious if the progression is repeated. Other progressions used are (E Phrygian Mode): Dm -> C -> F -> E C -> G -> F -> E F -> C -> F -> E (Note: Sometimes dominant 7th chords are substituted as well (e.g., for G, F, and/or E in the above progressions). Dm -> C7 -> F -> E Cl -> G7 -> F7 -> E F -> C -> F7 -> E7 -> (Am -> G -> F -> E) Secondary Dominant Chords (Phrygian Mode) Note that the relative dominant -> tonic relationships (within keys) are “secondary dominants”; e.g., the chord progressions (E7 -> Am) and (G7 -> C) relative to the E Phrygian Mode. The relative major does not introduce an accidental, and the relative (harmonic) minor introduces the G# as discussed above. Of particular importance in Flamenco is the “Cambio” which is the secondary dominant to the II chord in the Phrygian mode, in this case, the progression (G7 -> C) -> E as a “hook” for the cante. Another application of secondary dominants is the use of chords that are not contained in the key, but serve as dominant chords to other chords that are. For example, the E Phrygian Mode chord progression Am -> G -> F -> E might be replaced by: (E7 -> Am) -> ( D7 -> G) -> (C7 -> F) -> E. In this case, the “secondary question” chords (D7 and C7) are dominant chords within keys defined by their “secondary answers” (G and F). A7->Dm can also be used in this context; however, the B7 -> E progression is not generally used (for E Phrygian Mode), since the “question-answer” sequence is already F -> E). These secondary dominant chords are also an important source of accidental notes within the key in the case of the III and II chords.

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