Alegrías
Position: por alegrias
Capo / Transposer
Guitar position: por alegrias | Sounding key: E
Compas — 3/4, 12 beats
Accent Variants
| Pattern | Accents |
|---|---|
| a) Traditional | 123456789101112 |
| b) Key change | 123456789101112 |
| c) Mixed | 123456789101112 |
Interactive Progression
Resolutive cadence: B7 → E (V7 → I)
Harmonic Structures
| Name | Chords | Degrees |
|---|---|---|
| a) I-V-I | E – B7 – E | I – V – I |
| b) V-I | B7 – E | V – I |
| c) IV-I-V-I | A – E – B7 – E | IV – I – V – I |
| d) IV-I-V-I (rasgueo) | A – E – B7 – E | IV – I – V – I |
| e) I-V-III-V-I | E – B7 – G#m – B7 – E | I – V – III – V – I |
| f) III-IV-V-IV-I-V-I | G#m9 – A – B – A – E – B7 – E | III – IV – V – IV – I – V – I |
Scale
Related Scales
Used in falsetas over bIImaj7(#11) chords. Creates a bright, floating quality over the Neapolitan-area harmony.
Mixolydian with flat 6th. Used over dominant-function chords in flamenco. Fifth mode of Melodic Minor.
Triad Exercises
Alegrias exercises use triads (X, X-, X+, X°) in all inversions (root, 1st, 2nd) on 4 string groups (6-5-4, 5-4-3, 4-3-2, 3-2-1). The accent pattern follows the flamenco 12/8 cycle: disposition changes on beats 12, 3, 6, 8, 10.
Question of 12 beats (1 cycle) and answer of 12 beats. Or question of 6 beats (doubled) and answer of 12 beats.
Also traditional in: A, C
Flamenco Formal Structure
The cantaor's vocal preparation before singing, using ayeos and characteristic syllables. Sets the pitch and emotional tone of the piece.
A small guitar composition with complete musical meaning. Serves as introduction, interlude between verses, or standalone concert piece. The primary vehicle for guitar improvisation in flamenco.
A signal to transition between sections. Contains identifying rhythmic and harmonic elements that communicate the upcoming change to other performers.
The vocal verse sections, metrically fitted to the palo's rhythmic structure. The guitar accompanies with compas patterns and harmonic support.
A short musical fragment to conclude llamadas, falsetas, or sections. Provides rhythmic and harmonic closure.
At least one additional compas after a llamada or falseta, giving a lively, emphatic character to the conclusion.
The dance section featuring zapateado (footwork). Often features progressive acceleration. The guitar provides rhythmic compas support.