METODO GUIT FLAMENCA vol2 OK.indd

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CHORD POSITION: CHORD POSITION: Fundamental/Root position: When the bass note is the fundamental. �� Fundamental/Root position: Inversions: Inversions: a) 1st inversion: when the bass note is the third. �� b) 2nd inversion: when the bass note is the fifth. �� c) 3rd inversion: when the bass note is the seventh. KEY SIGNATURE: KEY SIGNATURE: �� The key signature is the combination of alterations (sharps or flats) written on the musical staff, which show the specific tonality of a musical phrase. This avoids re-writing the sharps or flats during the composition. The alterations are written in a specific order: for the sharps; F, C, G, D, A, � E and B; and for the flats; B, E, A, D, G, C and F; the inverse. � � � � �� MUESTRA Mayor: DO SOL RE LA MI SI FA# DO# Major: C G D A E B F# C# Menor: LAm MIm SIm FA#m DO#m SOL#m RE#m LA#m Minor: Am Em Bm F#m C#m G#m D#m A#m Modo Flamenco: MI SI FA# DO# SOL# RE# LA# MI# � Flamenco Mode: E B F# C# G# D# A# E# � � � � �� Mayor: DO FA SIb MIb LAb REb SOLb DOb Major: C F Bb Eb Ab Db Gb Cb � Menor: LAm Rem Solm Dom Fam Sibm Mibm Labm � Minor: Am Dm Gm Cm Fm Bbm Ebm Abm � Modo Flamenco: MI LA RE SOL DO FA SIb MIb Flamenco � Mode: E A D G C F Bb Eb � 15
16 FLAMENCO MODE According to Manuel Granados in his book “Armonía del flamenco”, the Flamenco mode is the Gregorian Phyrgian mode, or the Greek Dorian mode harmonized. The I chord of the mode converts to a major chord, not the minor chord which would correspond to the scale. In total there are seven chords in the mode, of which four principal chords numbered IVm-III-II-I are the most important. This progression is also called the “Andalusian Cadence”. The four principal chords in progression represent the four characteristic harmonic functions of the flamenco mode. The IV chord (minor) is a tonal centre (the minor key implied by the key signature) and can act as the START function in the progression towards the I or tonic chord. The III chord (major) acts as the INTERMEDIATE function in the progression, the II chord (major) as the RESOLUTION function, and the I chord (major) acts as the TONIC function. A main characteristic of the flamenco genre is that the musical phrase or falseta invariably resolves with the I chord. Apart from the principal chords of the Flamenco mode mentioned earlier, the cadence or progression towards the tonic (I) can also be performed using the secondary chords of the same mode. These are known as the VII chord (minor), VI chord (major), and V chord (diminished). They can be used as substitutes for the main chords of the mode. The following table created by Manuel Granados in his book on harmony shows the order of the harmonic functions in the progressions, and the chords which can act as that function, listed in decreasing order of importance: START function: IV, II, VII, V INTERMEDIATE function: III y VI RESOLUTION function: II, VII y V TONIC function: I Principal chords in the most characteristic flamenco modes: Flamenco mode in E Main styles: Soleá, Siguiriya, Fandangos, Malagueñas, Tangos and Bulerías. VIIm� VI� Vº� IVm� III� II� I� Dm� � Flamenco mode in A C� Bº� Am� G� F� E� Main styles: Siguiriya, Tientos, Tangos, Bulerías, Soleá en LA, Soleá por bulerías and Fandangos. MUESTRA VIIm� VI� Vº� IVm� III� II� I� Gm� � Flamenco mode in F# F� Eº� Dm� C� Bb� A� Main styles: Songs from Levante (Taranta). VIIm� VI� Vº� IVm� III� II� I� Em� � Flamenco mode in B Main styles: Granaína. D� C#º� Bm� A� G� F#� VIIm� VI� Vº� IVm� III� II� I� Am� G� F#º� Em� D� C� B�
Page 2 and 3: MÉTODO DE GUITARRA FLAMENCA DESDE
Page 4 and 5: En memoria del maestro Enrique More
Page 6 and 7: TARANTO: TANGUILLOS: SOLEÁ: • DE
Page 8 and 9: INTRODUCTION The Flamenco Guitar Rh
Page 10 and 11: STUDY TIPS 2 15. Practice 1 hour of
Page 12 and 13: ESTADO DE LOS ACORDES: Fundamental:
Page 14 and 15: ARMONÍA TRADICIONAL Dentro de la A
Page 18 and 19: TRADITIONAL HARMONY There are two t
Page 20 and 21: TRASTES Frets 6ª 0 1 2 3 4 5 6 7 8
Page 22 and 23: La primera mitad del XIX confirmar
Page 24 and 25: During the first half of the ninete
Page 26 and 27: RUMBA MUESTRA 25
Page 28: WWW.CARISCH.COM 9 7 8 8 4 3 8 7 1 1

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