474:(SD). Any sequence through different functions is allowed (e.g. T→D, SD→D), except for D→SD. A tonal scale's degrees are as following: "I" and "VI" are tonic chords (of which, "I" is stronger; all final cadences end in "I"), "V" and "VII" are dominants (both feature the leading tone and "V" is more potent), "IV" and "II" are subdominant chords ("IV" is stronger). ("III" isn't given a precise function, although it may replace a dominant in some cases.) All sequences between same-function chords, from the weaker member to the stronger (e.g. VII – V), are forbidden. When using the natural minor, dominant chords exchange their leading tone for a subtonic; as a result, their dominant quality is strongly undermined.
113:
427:. (The only purpose for highlighting these "functions" is to compare between the modal and tonal views of the cadence. The mode involved in the cadence is not a pure Phrygian, but one whose third step occurs in both instances, minor and major third. This is unacceptable in tonality; hence, tonal functions cannot be used. A common mistake occurs when the given mode is thought of as major, given that the tonic chord is major. However, the Phrygian mode features a minor third and the "I" chord may be taken for a
355:
336:(half-step) between two of its tones, it is the semitone that will determine the melodic tendency of the given tetrachord or mode (when combining tetrachords). If the semitone falls between the highest two steps, the melody tends to be ascending (e.g. major scales); a semitone between the lowest tones in the tetrachord involves a melody "inclined" to descend. This said, the Phrygian tetrachord, borrowed from traditional music of Eastern Europe and
20:
379:(i.e., the entirety of musical modes ever created and their specific harmonies – if existing) offers various plausible origins and explanations for every chord move. However, most classical (Baroque or subsequent) and popular music which makes use of the given chord progression might treat it itself in a tonal manner.
375:). In such cases (also, that of the Andalusian cadence), explanations offered by tonality "neglect" the history and evolution of the chord progression in question. This is because harmonic analyses in tonal style use only two scales (major and minor) when explaining origins of chord moves. In exchange, the luxuriant
402:
have little in common with the
Phrygian mode, the four chords could be roughly equalized. (The Phrygian mode is like a natural minor with step two lowered; however, step three switches between major and minor third, an equivalent to the subtonic/leading tone conflict in the tonal acceptation.) Thus,
980:
music, a style of music and dance that was popularized in the
Andalusian regions of Spain, has also been incorporated into modern pop and rock music. Specific examples include the usage of the cadence in "La leyenda del tiempo" by Camarón de la Isla. Other recent uses of the cadence are apparent in
457:
Another modification gives the progression a more characteristically modal sound by simply replacing the VII with a vii chord. This alters the progression slightly; Amin – Gmin – Fmaj – E7. It can be found in "Chanela", by DiMeola / McLaughlin / De Lucia. Although this example is in the key of B
386:) consider the Andalusian cadence as a chord progression built upon the Phrygian mode. Since tonality took the first chord in the progression for a tonic ("i"), the Phrygian notation (modal) of the cadence writes as following: iv –
961:) – iv (and back to "i"). The resulting progression is on the edge between tonal and modal, where the subtonic doesn't change back into a leading-tone, but the obtained cadence is suitable for tonality (called plagal or
1799:
193:, may not have occurred earlier than the Renaissance, though the use of parallel thirds or sixths was evident as early as the 13th century. One of the earliest uses of this chord sequence is seen in
530:
II" – acts as the dominant, substituted to tritone. Even so, the cadence stays authentic. The fourth chord itself is the tonic, so the cadence need not return to the tonal tonic, i.e. modal "iv".)
483:
VII" a local exception: the subtonic it uses for a root should be, however, re-replaced by the leading tone before returning to "i". (The leading tone is heard in the "V" chord, as the chord's
73:
The
Andalusian cadence can be regarded as a modulation between the Phrygian mode of a Major parent scale and the Phrygian Dominant mode of a Harmonic Minor scale, e.g. E, F, G (phrygian) or G
363:
325:
tetrachord (the equivalent of a Greek Dorian tetrachord, the latter mentioned above), that is to be found as the upper tetrachord of a natural minor scale (for A minor, they are: A G F E).
1005:
772:
551:
causes most flamenco music to be played only in a few keys. Of those, the most popular are A minor and D minor (equivalent to E and A Phrygian, respectively). They are as follows:
976:
The integration of the traditional
Andalusian cadence and Renaissance-style practices of musical composition and song are evident in modern musical genres such as rock and pop.
163:, the sequence resembles the bass line of the chord progression developed centuries later. Some theorists consider that the same structure may have occurred earlier in
524:
The
Andalusian is an authentic cadence, because a dominant chord ("V") comes just before the tonic "i". (Using modal harmonies, the third, and not the fourth chord – "
364:
205:. The piece begins in A minor and clearly uses the cadence pattern as a basso ostinato, resulting in Amin – Emin – Fmaj – E7. This work was first published in the
1805:
1611:
505:
VII" chord would now prefer moving to a subdominant rather than to a tonic chord. Yet, the
Andalusian cadence brings about a limit condition for tonal
371:
A rigorous analysis should note that many chord progressions are likely to come from an epoch prior to early
Baroque (usually associated with birth of
789:
hit; however, the first chord is A Major not A minor as is a common misconception about the song. Other notable examples from popular music are "
1406:
1090:
981:
flamenco inspired rock songs such as "Ya no me asomo de la reja", 'La que vive en la
Carrera", and the bassline of "Negras las intenciones".
1795:
1644:
1496:
806:
1398:
1343:
1287:
1240:
1116:
1036:
782:
1604:
1419:
275:
1358:
1158:
Chew, Geoffrey (1993). "The
Platonic Agenda of Monteverdi's Seconda Pratica: A Case Study from the Eighth Book of Madrigals".
1449:"From La leyenda del tiempo to La leyenda del espacio. Three Decades of Rock and Flamenco Hibridisation in Andalusian Music"
1316:
116:
362:
1981:
1704:
1597:
1561:
995:
1194:
1709:
1566:
340:, is to be found also in the Andalusian cadence and sets the mentioned character (the semitone falls between V and
1957:
95:
1714:
1573:
888:
1905:
1815:
1780:
826:
558:, which corresponds to A minor, where an Andalusian cadence consists of the chord progression Am – G – F – E
86:(i.e., occurring only once, when ending a phrase, section, or piece of music); it is most often used as an
1910:
1890:
1785:
1659:
1489:
1142:
884:
467:
47:
1699:
814:
580:
59:
264:
VI arose as a result of advancement in music theory. However, the absence of the leading tone from the
450:
II–I) and cadenced upon, is the most characteristic contrasting tonal area, similar by analogy to the
1946:
1940:
1845:
1724:
1521:
962:
420:
1212:"From Modality to Tonality: The Reformulation of Harmony and Structure in Seventeenth-Century Music"
1885:
1870:
1835:
1765:
1667:
329:
1880:
1860:
1749:
1672:
1649:
1556:
1175:
822:
297:
206:
194:
119:
383:
852:'s signature track, "Entre dos Aguas", where this progression is played in the key of E minor.
167:. A sequence more or less close to the Greek tetrachord structure might have been known to the
1976:
1900:
1875:
1790:
1744:
1620:
1482:
1460:
1402:
1394:
1339:
1283:
1236:
1112:
1086:
868:
592:
399:
354:
213:
63:
39:
1865:
1734:
1691:
1167:
954:
849:
830:
588:
424:
287:
228:
VI chord may suggest a more recent origin than the
Passamezzo antico since the cadences i –
164:
1729:
1639:
1541:
1536:
1531:
1505:
1320:
1040:
918:
845:
841:
798:
790:
544:
318:
67:
23:
957:" (1979), where the "V" chord is skipped for a "iv". It is as follows: i – VII – VI (– VI
587:, other keys can be obtained, mainly derived from the two basic keys. Flamenco guitarist
1211:
1033:
1895:
1634:
1546:
802:
794:
428:
241:
183:
153:
1970:
1551:
1000:
432:
322:
314:
279:
190:
51:
43:
1926:
1850:
1738:
1654:
834:
778:
451:
271:
247:
144:
55:
270:
VII chord suggests that the progression originated before the tonal system in the
564:
names the D minor key, in which the Andalusian cadence is built from a Dm – C – B
361:
1936:
1313:
990:
818:
484:
471:
198:
99:
1855:
950:
810:
584:
179:
159:
91:
19:
1464:
1810:
1448:
786:
66:, its effective sonorities made it one of the most popular progressions in
398:
II – I (or, more commonly, but less correctly, iv – III – II – I). Though
1931:
1775:
977:
372:
337:
333:
134:
87:
35:
908:" notation represents a tonic chord whose seventh falls in the bass; a "
595:
were among the first to use the new keys, which have distinctive names:
156:
offers a possible starting point for the Andalusian cadence. Called the
1526:
1147:. Vol. 8. Vienna: Tutte le Opere di Claudio Monteverdi. p. 2.
506:
410:
283:
83:
1179:
212:
The progression resembles the first four measures of the 15th century
1589:
548:
176:
785:", used the bass structure from the iconic Andalusian cadence for a
477:
A tonal insight on the Andalusian cadence leads to considering the "
332:
and rediscovered in early Renaissance: when a tetrachord features a
321:
before resolution (V–i). The roots of the chords belong to a modern
1171:
382:
A number of musicians and theorists (including renowned guitarist
353:
172:
168:
18:
1593:
1478:
1069:, "Ciprian Porumbescu" Conservatory Publishing House, Bucharest
1359:"Andalusian Cadence: The Most Common Guitar Chord Progression"
419:
II" chord has a dominant function, and may be thought of as a
1141:
Monteverdi, Claudio (1929). Malipiero, Gian Francesco (ed.).
929:
Progression by fourths or the addition of VI between III and
1474:
949:
A most unusual way of altering the cadence can be heard in
848:", and it also builds the basis for the middle section in
328:
A remarkable fact about tetrachords was noticed since the
1336:
Applicatory Harmony in Jazz, Pop & Rock Improvisation
1006:
List of popular music songs featuring Andalusian cadences
773:
List of popular music songs featuring Andalusian cadences
118:
Audio playback is not supported in your browser. You can
438:
When the VI chord, which may be added between III and
34:(diatonic phrygian tetrachord) is a term adopted from
1420:""Andalusian cadences": How are they commonly heard?"
317:
would be added to the dominant "V" chord to increase
286:
style would have avoided the flat VII and introduced
1083:
The Complete Idiot's Guide to the Art of Songwriting
867:
VI–V chord progression is the primary structure of "
840:
The Andalusian cadence is featured in the chorus of
499:
VII") and start acting to the contrary. That is, a "
403:
the "iv" corresponds to a subdominant chord, while "
1919:
1828:
1758:
1690:
1681:
1627:
466:The tonal system sets three main functions for the
493:VII" would leave the dominant category (compare: "
175:and spread from there through Western Europe. The
1306:El compromiso y la generosidad de Manolo Sanlúcar
1196:Tonality and Atonality in Sixteenth-Century Music
1353:
1351:
282:must be approached from chord V whereas typical
90:(repeating over and over again). It is heard in
891:, where two chords have changed places: i (– i
54:or i–VII–VI–V progression with respect to the
1605:
1490:
1077:
1075:
8:
762:Music examples featuring Andalusian cadences
470:tertian chords: tonic (T), dominant (D) and
58:(minor). It is otherwise known as the minor
1442:
1440:
1424:Music: Practice & Theory Stack Exchange
1262:, vol. 2, Kitty Publishing House, Bucharest
1687:
1612:
1598:
1590:
1497:
1483:
1475:
1103:
1101:
1099:
1043:, a website about basics in Flamenco music
1029:
1027:
1025:
1023:
1021:
458:minor, the applied principle is the same.
189:The Andalusian cadence known today, using
1300:
1298:
1296:
1274:
1272:
1270:
1268:
1254:
1252:
1250:
1248:
1453:Diagonal: An Ibero-American Music Review
1447:Fernando, Barrera Ramírez (2018-08-11).
1385:
1383:
1381:
1379:
1227:
1225:
1131:, State Musical Publishing House, Moscow
597:
1393:, Musical Publishing House, Bucharest.
1330:
1328:
1235:, Musical Publishing House, Bucharest.
1061:
1059:
1057:
1055:
1053:
1051:
1049:
1017:
1338:, Nemira Publishing House, Bucharest.
1081:Kelly, Casey and Hodge, David (2011).
7:
926:Foreign chords, bassline unchanged
1389:Voda-Nuteanu, Diana (2006, 2007).
777:Songs of the early 1960s, such as
296:VII or V chords, to form cadences
82:Despite the name it is not a true
14:
1280:Analytical Studies in World Music
1199:. University of California Press.
240:VII – i were popular in the late
79:(phrygian dominant), A, B, C, D.
359:
358:Andalusian cadence in E Phrygian
50:progression with respect to the
1304:Norberto Torres Cortés (2001).
1193:Lowinsky, Edward Elias (1961).
1111:, vol. 1, Corgal Press, Bacǎu.
534:Denominations in flamenco music
1312:revue, No. 88; also available
1:
1258:Alexandrescu, Dragoş (1997).
880:Reordered or repeated chords
152:A popular melodic pattern of
129:A typical Andalusian cadence
935:II: Am–G–C–F–E or iv–III–VI–
222:VII – i – V. The use of the
133:(i.e. in A minor). G is the
115:
1233:Musical Folklore in Romania
946:Dominant chord substituted
413:and "I" is the tonic. The "
1998:
1958:List of chord progressions
1129:History of Universal Music
770:
1955:
1512:
889:The Mamas & the Papas
1278:Tenzer, Michael (2006).
1231:Oprea, Gheorghe (2002).
1107:Dǎnceanu, Liviu (2005).
274:approach of the time of
207:Eighth Book of Madrigals
62:. Traceable back to the
46:descending stepwise – a
1816:Tadd Dameron turnaround
827:The Mamas and the Papas
244:and early Renaissance,
182:were influenced by the
120:download the audio file
1911:Montgomery-Ward bridge
1891:Royal road progression
1786:Montgomery-Ward bridge
1319:March 8, 2007, at the
917:" notation suggests a
462:Harmonic peculiarities
425:Neapolitan sixth chord
368:
27:
1856:Borrowed (contrafact)
1334:Popp, Marius (1998).
1210:Lukas, Perry (2011).
1127:Gruber, R.I. (1960).
1039:May 28, 2005, at the
921:resolving to a triad)
601:Term used in flamenco
357:
60:descending tetrachord
22:
1947:Irregular resolution
1725:Backdoor progression
1522:Backdoor progression
875:Altered progressions
607:Modal (Phrygian) key
421:tritone substitution
1308:, published in the
1144:Lamento della Ninfa
1065:Buciu, Dan (1989).
885:California Dreamin'
855:In addition, the I–
713:, capo on 4th fret
668:, capo on 2nd fret
635:, capo on 2nd fret
203:Lamento della Ninfa
1982:Chord progressions
1881:Passamezzo moderno
1841:Andalusian cadence
1771:Andalusian cadence
1750:Passamezzo moderno
1650:Constant structure
1621:Chord progressions
996:ii–V–I progression
823:California Dreamin
423:of "V", i.e., the
369:
195:Claudio Monteverdi
32:Andalusian cadence
28:
1964:
1963:
1941:Pachelbel's Canon
1876:Passamezzo antico
1824:
1823:
1791:Passamezzo antico
1745:Sixteen-bar blues
1710:V–IV–I turnaround
1705:ii–V–I turnaround
1587:
1586:
1567:V–IV–I turnaround
1562:ii–V–I turnaround
1407:978-973-42-0438-0
1091:978-1-61564-103-1
869:Hit the Road Jack
759:
758:
610:Chord progression
365:
214:Passamezzo antico
124:
40:chord progression
16:Chord progression
1989:
1896:"Rhythm" changes
1866:Coltrane changes
1766:'50s progression
1735:Twelve-bar blues
1719:
1718:
1688:
1663:
1614:
1607:
1600:
1591:
1578:
1577:
1499:
1492:
1485:
1476:
1469:
1468:
1444:
1435:
1434:
1432:
1430:
1416:
1410:
1387:
1374:
1373:
1371:
1370:
1355:
1346:
1332:
1323:
1302:
1291:
1276:
1263:
1256:
1243:
1229:
1220:
1219:
1207:
1201:
1200:
1190:
1184:
1183:
1155:
1149:
1148:
1138:
1132:
1125:
1119:
1109:Seasons in Music
1105:
1094:
1079:
1070:
1063:
1044:
1034:Mojácar Flamenco
1031:
955:Comfortably Numb
940:
939:
934:
933:
916:
915:
903:
902:
895:) – VI – VII – V
866:
865:
860:
859:
831:Sultans of Swing
807:Like a Hurricane
752:
751:
746:
745:
737:
736:
728:
727:
707:
706:
701:
700:
692:
691:
683:
682:
662:
661:
653:
652:
598:
569:
568:
529:
528:
520:
519:
514:
513:
504:
503:
498:
497:
492:
491:
482:
481:
454:of a minor key.
449:
448:
443:
442:
418:
417:
408:
407:
397:
396:
391:
390:
367:
366:
345:
344:
295:
294:
269:
268:
263:
262:
257:
256:
239:
238:
233:
232:
227:
226:
221:
220:
142:
141:
78:
77:
42:comprising four
1997:
1996:
1992:
1991:
1990:
1988:
1987:
1986:
1967:
1966:
1965:
1960:
1951:
1927:Aeolian harmony
1915:
1820:
1754:
1730:Eight-bar blues
1716:
1715:
1683:
1677:
1662:(Roman-numeral)
1661:
1623:
1618:
1588:
1583:
1575:
1574:
1508:
1503:
1473:
1472:
1446:
1445:
1438:
1428:
1426:
1418:
1417:
1413:
1388:
1377:
1368:
1366:
1357:
1356:
1349:
1333:
1326:
1321:Wayback Machine
1303:
1294:
1277:
1266:
1257:
1246:
1230:
1223:
1209:
1208:
1204:
1192:
1191:
1187:
1157:
1156:
1152:
1140:
1139:
1135:
1126:
1122:
1106:
1097:
1093:. "i–VII–VI–V".
1080:
1073:
1064:
1047:
1041:Wayback Machine
1032:
1019:
1014:
987:
974:
960:
937:
936:
931:
930:
919:suspended chord
914:
911:
910:
909:
907:
904:. (Note: the "i
901:
898:
897:
896:
894:
877:
863:
862:
857:
856:
846:Smooth Criminal
842:Michael Jackson
799:Good Vibrations
791:Stray Cat Strut
783:Walk, Don't Run
775:
769:
764:
749:
748:
743:
742:
734:
733:
725:
724:
704:
703:
698:
697:
689:
688:
680:
679:
659:
658:
650:
649:
577:
575:Derivative keys
570:– A progression
566:
565:
545:standard tuning
541:
536:
526:
525:
521:VI chord move.
517:
516:
511:
510:
501:
500:
495:
494:
489:
488:
479:
478:
464:
446:
445:
440:
439:
415:
414:
405:
404:
400:tonal functions
394:
393:
388:
387:
384:Manolo Sanlúcar
360:
352:
350:Modal vs. tonal
342:
341:
311:
306:
300:upon chord i).
292:
291:
266:
265:
260:
259:
254:
253:
236:
235:
230:
229:
224:
223:
218:
217:
150:
149:
148:
139:
138:
127:
126:
125:
123:
108:
94:songs such as "
75:
74:
68:classical music
17:
12:
11:
5:
1995:
1993:
1985:
1984:
1979:
1969:
1968:
1962:
1961:
1956:
1953:
1952:
1950:
1949:
1944:
1934:
1929:
1923:
1921:
1917:
1916:
1914:
1913:
1908:
1903:
1898:
1893:
1888:
1883:
1878:
1873:
1868:
1863:
1858:
1853:
1851:"Bird" changes
1848:
1843:
1838:
1832:
1830:
1826:
1825:
1822:
1821:
1819:
1818:
1813:
1808:
1803:
1793:
1788:
1783:
1778:
1773:
1768:
1762:
1760:
1756:
1755:
1753:
1752:
1747:
1742:
1739:"Bird" changes
1732:
1727:
1722:
1712:
1707:
1702:
1696:
1694:
1685:
1679:
1678:
1676:
1675:
1670:
1665:
1657:
1652:
1647:
1642:
1637:
1631:
1629:
1625:
1624:
1619:
1617:
1616:
1609:
1602:
1594:
1585:
1584:
1582:
1581:
1571:
1570:
1569:
1564:
1554:
1549:
1544:
1539:
1534:
1529:
1524:
1519:
1513:
1510:
1509:
1504:
1502:
1501:
1494:
1487:
1479:
1471:
1470:
1436:
1411:
1375:
1347:
1324:
1292:
1264:
1244:
1221:
1202:
1185:
1172:10.2307/854270
1166:(2): 147–168.
1160:Music Analysis
1150:
1133:
1120:
1095:
1071:
1045:
1016:
1015:
1013:
1010:
1009:
1008:
1003:
998:
993:
986:
983:
973:
970:
969:
968:
967:
966:
958:
944:
943:
942:
924:
923:
922:
912:
905:
899:
892:
876:
873:
815:Happy Together
803:The Beach Boys
795:The Stray Cats
771:Main article:
768:
765:
763:
760:
757:
756:
753:
739:
730:
721:
715:
714:
708:
694:
685:
676:
670:
669:
663:
657:Bm – A – G – F
655:
646:
643:
637:
636:
630:
629:Em – D – C – B
627:
624:
621:
615:
614:
611:
608:
605:
602:
593:Antonio Chacón
576:
573:
572:
571:
559:
540:
537:
535:
532:
463:
460:
452:relative major
444:II (iv–III–VI–
429:borrowed chord
351:
348:
310:
307:
305:
302:
154:Ancient Greece
128:
117:
114:
112:
111:
110:
109:
107:
104:
15:
13:
10:
9:
6:
4:
3:
2:
1994:
1983:
1980:
1978:
1975:
1974:
1972:
1959:
1954:
1948:
1945:
1942:
1938:
1935:
1933:
1930:
1928:
1925:
1924:
1922:
1918:
1912:
1909:
1907:
1904:
1902:
1899:
1897:
1894:
1892:
1889:
1887:
1884:
1882:
1879:
1877:
1874:
1872:
1869:
1867:
1864:
1862:
1859:
1857:
1854:
1852:
1849:
1847:
1844:
1842:
1839:
1837:
1834:
1833:
1831:
1827:
1817:
1814:
1812:
1809:
1807:
1804:
1801:
1797:
1794:
1792:
1789:
1787:
1784:
1782:
1779:
1777:
1774:
1772:
1769:
1767:
1764:
1763:
1761:
1757:
1751:
1748:
1746:
1743:
1740:
1736:
1733:
1731:
1728:
1726:
1723:
1721:
1720:VII–V cadence
1713:
1711:
1708:
1706:
1703:
1701:
1698:
1697:
1695:
1693:
1689:
1686:
1680:
1674:
1671:
1669:
1668:Rewrite rules
1666:
1664:
1658:
1656:
1653:
1651:
1648:
1646:
1643:
1641:
1638:
1636:
1633:
1632:
1630:
1626:
1622:
1615:
1610:
1608:
1603:
1601:
1596:
1595:
1592:
1580:
1579:VII–V cadence
1572:
1568:
1565:
1563:
1560:
1559:
1558:
1555:
1553:
1552:Picardy third
1550:
1548:
1545:
1543:
1540:
1538:
1535:
1533:
1530:
1528:
1525:
1523:
1520:
1518:
1515:
1514:
1511:
1507:
1500:
1495:
1493:
1488:
1486:
1481:
1480:
1477:
1466:
1462:
1458:
1454:
1450:
1443:
1441:
1437:
1429:September 24,
1425:
1421:
1415:
1412:
1408:
1404:
1400:
1399:973-42-0438-6
1396:
1392:
1386:
1384:
1382:
1380:
1376:
1364:
1363:Uberchord App
1360:
1354:
1352:
1348:
1345:
1344:973-569-228-7
1341:
1337:
1331:
1329:
1325:
1322:
1318:
1315:
1311:
1307:
1301:
1299:
1297:
1293:
1289:
1288:0-19-517789-4
1285:
1281:
1275:
1273:
1271:
1269:
1265:
1261:
1255:
1253:
1251:
1249:
1245:
1242:
1241:973-42-0304-5
1238:
1234:
1228:
1226:
1222:
1217:
1213:
1206:
1203:
1198:
1197:
1189:
1186:
1181:
1177:
1173:
1169:
1165:
1161:
1154:
1151:
1146:
1145:
1137:
1134:
1130:
1124:
1121:
1118:
1117:973-7922-37-9
1114:
1110:
1104:
1102:
1100:
1096:
1092:
1088:
1084:
1078:
1076:
1072:
1068:
1067:Tonal Harmony
1062:
1060:
1058:
1056:
1054:
1052:
1050:
1046:
1042:
1038:
1035:
1030:
1028:
1026:
1024:
1022:
1018:
1011:
1007:
1004:
1002:
1001:Flamenco mode
999:
997:
994:
992:
989:
988:
984:
982:
979:
971:
964:
956:
952:
948:
947:
945:
928:
927:
925:
920:
890:
886:
882:
881:
879:
878:
874:
872:
870:
853:
851:
850:Paco de Lucía
847:
843:
838:
836:
832:
828:
824:
820:
816:
812:
808:
804:
800:
796:
792:
788:
784:
780:
774:
767:Popular music
766:
761:
754:
747:m – E – D – C
740:
731:
722:
720:
717:
716:
712:
709:
702:m – B – A – G
695:
686:
677:
675:
672:
671:
667:
664:
656:
647:
644:
642:
639:
638:
634:
631:
628:
625:
622:
620:
617:
616:
613:Construction
612:
609:
606:
603:
600:
599:
596:
594:
590:
589:Ramón Montoya
586:
582:
574:
563:
560:
557:
554:
553:
552:
550:
546:
538:
533:
531:
522:
508:
486:
475:
473:
469:
461:
459:
455:
453:
436:
434:
433:Picardy third
430:
426:
422:
412:
401:
385:
380:
378:
374:
356:
349:
347:
339:
335:
331:
330:Ancient times
326:
324:
320:
316:
315:minor seventh
308:
303:
301:
299:
289:
285:
281:
277:
273:
251:
249:
243:
215:
210:
208:
204:
200:
196:
192:
187:
185:
184:Spanish music
181:
178:
174:
170:
166:
162:
161:
155:
146:
136:
132:
121:
105:
103:
101:
97:
93:
89:
85:
80:
71:
69:
65:
61:
57:
53:
52:Phrygian mode
49:
45:
41:
37:
33:
25:
21:
1906:Tadd-Dameron
1840:
1770:
1655:Double tonic
1516:
1456:
1452:
1427:. Retrieved
1423:
1414:
1390:
1367:. Retrieved
1365:. 2016-10-17
1362:
1335:
1309:
1305:
1279:
1260:Music theory
1259:
1232:
1215:
1205:
1195:
1188:
1163:
1159:
1153:
1143:
1136:
1128:
1123:
1108:
1082:
1066:
975:
972:Modern usage
887:" (1965) by
854:
839:
835:Dire Straits
781:' 1960 hit "
779:the Ventures
776:
718:
710:
673:
665:
640:
632:
619:por granaína
618:
578:
561:
555:
542:
523:
476:
465:
456:
437:
409:III" is the
381:
377:modal system
376:
370:
327:
312:
278:, where the
248:double tonic
245:
211:
202:
188:
171:in Southern
157:
151:
145:leading tone
130:
81:
72:
56:Aeolian mode
38:music for a
31:
29:
1937:Ground bass
1806:IV–V–iii–vi
1628:Terminology
1216:Sound Ideas
991:Lament bass
819:The Turtles
755:scordature
719:por rondeña
641:por Levante
591:and singer
485:major third
472:subdominant
242:Middle Ages
180:troubadours
100:Del Shannon
64:Renaissance
48:iv–III–II–I
26:of flamenco
1971:Categories
1673:Turnaround
1557:Turnaround
1517:Andalusian
1369:2018-09-24
1012:References
951:Pink Floyd
811:Neil Young
711:por arriba
674:por minera
666:por arriba
626:B Phrygian
585:scordature
556:por arriba
539:Basic keys
431:, i.e., a
276:Palestrina
246:(see also
160:tetrachord
131:por arriba
1811:Romanesca
1796:I–V–vi–IV
1781:vi–ii–V–I
1684:of chords
1682:By number
1660:Notation
1465:2470-4199
1282:, p. 97.
787:surf rock
633:por medio
604:Tonal key
581:capotasto
562:por medio
509:, with a
298:resolving
158:Diatonic
1977:Cadences
1932:Chaconne
1846:Backdoor
1717:♭
1700:I–IV–V–I
1576:♭
1506:Cadences
1317:Archived
1310:El Olivo
1037:Archived
985:See also
978:Flamenco
963:backdoor
938:♭
932:♭
864:♭
858:♭
750:♯
744:♯
738:Phrygian
735:♯
726:♯
705:♯
699:♯
693:Phrygian
690:♯
681:♯
660:♯
654:Phrygian
651:♯
579:Using a
567:♭
527:♭
518:♭
512:♭
502:♭
496:♮
490:♭
480:♭
468:diatonic
447:♭
441:♭
416:♭
406:♭
395:♭
389:♭
373:tonality
343:♭
338:Anatolia
334:semitone
323:phrygian
304:Analysis
293:♯
290:chords (
288:dominant
267:♭
261:♭
255:♭
237:♭
234:VII and
231:♭
225:♭
219:♭
209:(1638).
140:♯
135:subtonic
88:ostinato
76:♯
36:flamenco
1920:Related
1886:Ragtime
1871:Omnibus
1829:By name
1737: (
1645:Changes
1640:Cadence
1542:Landini
1537:English
1532:Corelli
1527:Cadenza
1391:Harmony
829:, and "
645:B minor
623:E minor
549:guitars
507:harmony
411:mediant
319:tension
284:Baroque
143:is the
106:Origins
96:Runaway
84:cadence
1861:Circle
1635:Bridge
1547:Lydian
1463:
1405:
1401:(10),
1397:
1342:
1286:
1239:
1180:854270
1178:
1115:
1089:
515:VII –
487:.) A "
392:III –
309:Melody
258:VII –
252:while
216:; i –
201:work,
199:choral
191:triads
177:French
44:chords
1901:Stomp
1776:Folía
1692:Three
1459:(1).
1409:(13).
1176:JSTOR
941:II–I.
833:" by
825:" by
817:" by
809:" by
801:" by
793:" by
729:minor
684:minor
346:VI).
280:tonic
272:modal
173:Spain
169:Moors
165:Judah
137:and G
98:" by
24:Palos
1800:list
1759:Four
1461:ISSN
1431:2018
1403:ISBN
1395:ISBN
1340:ISBN
1314:here
1284:ISBN
1237:ISBN
1113:ISBN
1087:ISBN
1085:, .
953:'s "
861:VII–
844:'s "
543:The
92:rock
30:The
1836:50s
1168:doi
913:4-3
900:4-3
871:".
821:, "
813:, "
805:, "
797:, "
583:or
547:in
435:.)
197:'s
1973::
1455:.
1451:.
1439:^
1422:.
1378:^
1361:.
1350:^
1327:^
1295:^
1267:^
1247:^
1224:^
1214:.
1174:.
1164:12
1162:.
1098:^
1074:^
1048:^
1020:^
965:).
837:.
313:A
186:.
102:.
70:.
1943:)
1939:(
1802:)
1798:(
1741:)
1613:e
1606:t
1599:v
1498:e
1491:t
1484:v
1467:.
1457:3
1433:.
1372:.
1290:.
1218:.
1182:.
1170::
959:2
906:2
893:2
883:"
741:F
732:C
723:F
696:C
687:G
678:C
648:F
250:)
147:.
122:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
