ACORDES FLAMENCOS

Flamenco Chord Voicings

www.armoniamoderna.com


www.armoniamoderna.com José Antonio Pérez Álvarez © October 2012

1. Flamenco chord voicings. 2. Flamenco keys. 2.1. E phrygian key, “por arriba”. 2.2. A phrygian key, “por medio”. 2.3. F# phrygian key, “ dos por arriba” or “por Levante”. 2.4. B phrygian key, “dos por medio” or “por Granainas”. 2.5. G# phrygian key, “cuatro por arriba” or “por mineras”. 2.6. C# phrygian key, “cuatro por medio”. 2.7. D# phrygian key, “seis por medio”.

José Antonio Pérez Álvarez

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1. Flamenco chord voicings.

The Jazz harmony comes from piano and wind instrument like saxophone, but Flamenco harmony comes from guitar, like Brasilian and Blues, therefore the tonalities and the vocings more used are different. Although the tonal phenomenom is the same, there are another aesthetic issues that conforms each style. The Flamenco voicings are restricted to another rules, normaly, the upper structure is mixed with lower structure, forming clusters. When a tension is forming cluster with a chord note can be formalized with ADD sign and a number less than seven. In Flamenco poliphony almost always the melody is in the bottom voice, and top voice is a pedal note. Most of Flamenco melodies are based on A-G-F-E, that are the fundamental notes of the Andalousian Cadence. The melody itself induces harmonize from the bottom voice with Andalousian Cadence in the Phrygian tonality. This is something that has been extrapolated to the rest of Flamenco, and it can be heard in the other tonalites. Am

G

F

E

The open strings are very important to Flamenco sound, and usually an open string is a pedal note in the cadence. The Flamenco sound does not accept soft and smooth chords like CMaj7, in any case should be C/B or CMaj7/E, it needs complex chords with deep sound, otherwise it is preferably a simple triad. In Flamenco style C7b9 is not a usefull chord, but Caddb2/bB is one of the most important. In Flamenco style avoid notes do not exist, the voicing is a matter of taste. It is a cosequence of the downward harmonic continuity in Riemann sense, it is not because it be a descending cadence. And of course, it is not because Andaluosian Cadence is a modal system, it is completly tonal. Am7add2,4,b6 IVm7

G7add2,4,6 bIII7

FMaj7add2,#4,6 bIIMaj7

Eaddb2,4,b6/b7 I/b7

�� p �� p �� p �VII �� p �� VII �7 I bVI+ IVm bVI Im bIII Vº bVIIm bII bVIIm Vº IIIº


�� I

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2. Flamenco keys.

It is necessary to review all the habitual tonalities to know each possibilities, and the most common voicings. They do not must be studied from key, since the "cejilla" allows to change it. The Flamenco keys must be studied from voicing, voicing and pedal notes define the colour in absolute way, no in relative. The seven keys used in Flamenco are the keys that contain the natural E note, evidently the first open string is the pedal note always. It should know what note of the key is each open string. Out of key notes have interest too.

Phrygian key String

E B G D A E

E

1 5 b3 b7 4 1

D#

b2 b6 3 7 b5 b2

C#

b3 b7 #4 b2 b6 b3

B

A

G#

F#

4 1 b6 b3 b7 4

5 2 b7 4 1 5

b6 b3 7 b5 b2 b6

b7 4 b2 b6 b3 b7

G

F

E

D

Relative major key String

E B G D A E

C

3 7 5 2 6 3

B

4 1 b6 b3 b7 4

A

5 2 b7 4 1 5

6 3 1 5 2 6

7 #4 2 6 3 7

1 5 b3 b7 4 1

2 6 4 1 5 2

E

D

C#

B

Relative minor key String

E B G D A E


A

5 2 b7 4 1 5

G#

b6 b3 7 b5 b2 b6

F#

b7 4 b2 b6 b3 b7

1 5 b3 b7 4 1

2 6 4 1 5 2

b3 b7 b5 b2 b6 b3

4 1 b6 b3 b7 4

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2.1. E phrygian key, “por arriba”.

The E phrygian (RMS) key is the most common in Flamenco, is the relative key of C major and A minor. The pedal note of these voicings is the tonic note that is in the open first string, the open second string can be pedal note as prefect fifth in the key. The E phrygian key is the most common "por Soleá" and “por Fandangos”.

Am7add2

Asus2addb6

Dmadd2/F

D9/F#

1

G7add13

1

2

2

3

3

4

3

2 3

4

1 2

4

2 3

3 4

C7add2

C/Bb

1

2

FMaj7add#4

3 4


F7add#4

1

1

3

2 1

G7add2,13

2 3 4

Eaddb2

2 3

Esusb2add4

1 4

2

1 3

2 3

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2.2. A phrygian, “por medio”. The A phrygian key is another of most used in Flamenco, is the relative phrygian key of F major and D minor keys. The pedal note is the first open string as the perfect fifth of the key. Bb7 and Gm6 are common substitutions of Bb, the second degree bII of the key. The A phrygian key is the most common "por Seguiriyas" and "Soleá por Bulerías".

Dmadd2/F

Dsus2addb6 G7add13

C7add2

C9

Gmadd6

1

1 2

3 4

3 4

Gm6

Bbadd#4

3

1 4

Bbadd#4/Ab

1

1

3 4

Bb9#11/F

1 1

3 2

2

3 4

2

Aaddb2

3 4

1 1 1

3 4

Asusb2/G

2 3 2

1 4

2

3

2

1 3

4

2 3


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2.3. F# phrygian, “ dos por arriba” or “por Levante”. The F# phrygian key is the relative phrygian key of D major and B minor keys. It is the most common key in the "Cantes de Levante", it includes Tarantas, Cartageneras, Levanticas, Mineras and Tarantos. The pedal note is the first open string as the minor seventh of the key. These "Palos Flamencos" have their origin in the Fandango, thereby most of musical form is composed in D major key, making use of diatonic substitutions and secondary dominants, and an Andalousian Cadence in last section in relative F# phrygian key. The most famous Flamenco chord F#sus4addb2 belongs to this key.

DMaj9add4

F#7

Bmadd2b6

E7

A7

A7/G

1 1

1

1

1

2 3

2 3

2

3

3

1 1 1 2

4

3

2

4

4

D9/A

D9/F#

G7add13

G7add#4,13

1

3 4

2

1 2

3

2

1

3 4

2

F#7sus4addb2

1

1 2

G/F

3 4

3


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2.4. B phrygian, “dos por medio” or “por Granainas”. The B phrygian key is the relative phrygian key of G major and E minor keys, and is the key of Granainas. Granainas comes from Fandango, therefore the most of musical form is composed in G major key, and in the last section has a Andalusian Cadence to the relative phrygian tonic. The pedal note is the open first string as the fourth of the key.

Emadd2

E7

Amadd2

D9/F#

1 1

1

IV

2

1

3 4

3

3

4

2

C/Bb

1

Bsus4addb2

Badd4

Badd4

2 3

2 3

3

CMaj7add#4

1

2

1

4

G7

Gadd13

1 2

2

D9/A

VI

1

1

1

1

2 3 4


2 3 4

3

3 4

4

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2.5. G# phrygian, “cuatro por arriba” or “por mineras”. The G# phrigian key si the relative phrigian key of E major and C# minor keys. It is called "por Mineras", but really the Mineras are in F# phrigian key. Some Flamenco guitarrists have made contributions to this key and they call it in this way. The pedal note is E in the first open string as the minor sixth.

C#m7add2/G# C#madd2,4 F#madd4

Badd2,4

B7add11/F#

Eadd2

2

1 1 2 2

IV

1

3 4

1

2 3

1

2

2 3 2

1

4

3

4

3 4

E7

4

Aadd2

A7add#4

A/G

G#addb2

1 2

G#/F#

1 1 1

1 1 1 1

2

1 1 1

2

2 4

1

4

2 3


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2.6. C# phrygian key, “cuatro por medio”. The C# phrygian key is the relative phrygian key of A major and F# minor keys. The pedal note is the open first string as the minor third of the key, although it is not usal with the tonic first degree. F#m7add4

B7/F#

1 1

2 3

2 3

F7add#4

1

Aadd2

A7add2

2 3

4

Eadd2

4

1

2

1

1

4

3

3 4

A7add2,13

Dadd2/F#

D9/F#

D

C#addb2

2

2

3 4

3

1

4


2

1

IV

1

2

3 4

1

1

1 1 1

C7susb2

4 4

3 4

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2.7. D# phrygian, “seis por medio”. The D# phrigian key si the relative phrigian key of B major and G# minor keys. The pedal note is E in the first open string as the minor second. G#m7addb6 C#m7add2/G# C#m7add2 F#9sus4

B7add11/F#

3 4

2

2 2

1 3 4

Eadd2

2

2

E/G#

Eadd2

1 1 3

2

3 4

1 1

2

1

VI

2 2

4

E7add#4 D#addb2/Fx D#addb2/A#

1

2

2 3

3 4

1

4

3

1

1

1 1

B9add11

3 4

2

3 4

1

4

2 4 3


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ACORDES FLAMENCOS

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