What is the Malagueña cadence?

The Malagueña uses the progression IV – III – II – I in E flamenco. Chords: Am – G – F – E.

Malagueña

Fandango FamilyE Flamenco PhrygianKey sig.: A minorBlasco 3: Guitar: Phrygian / Vocals: relative major

Position: por arriba

Capo / Transposer

Capo:

Guitar position: por arriba | Sounding key: E

Interactive Progression

Am
IV

G
III

F
II

E
I

Resolutive cadence: F → E (II → I)

Traditional Harmony (vocals)

C
I

F
IV

C
I

G7
V7

C
I

Cante Structure

Dual-harmony flow: Andalusian cadence for instrumental sections and traditional harmony for vocal accompaniment.

preludio Instrumentalcadencia andaluza

Am → G → F → E(IV → III → II → I)

acompanamientoarmonia tradicional

C → F → C → G7 → C(I → IV → I → V7 → I)

resolucioncadencia resolutiva

F → E(II → I)

Scale

E phrygian

EFGABCD

III altered to G# (leading tone of Am/IV), VII optionally altered to D# (leading tone of E/I)

Related Scales

Flamenco Mode / Phrygian

Intervals: 1 b2 b3 4 5 b6 b7

The fundamental flamenco scale. Also called Dorico Griego (Greek Dorian, descending) or Phrygian (Gregorian). The 3rd is raised to G# when chord I needs to be Major.

Phrygian Dominant / Spanish Gypsy

Intervals: 1 b2 3 4 5 b6 b7

Phrygian with raised 3rd. The most characteristic sound when playing over the I chord in flamenco. Fifth mode of Harmonic Minor.

Whole Tone / Hexatonal

Intervals: 1 2 3 #4 #5 b7

Six-note scale of whole tones. Used by Albeniz and adopted in flamenco for impressionistic passages and augmented chord contexts.

Flamenco Mode Degrees (E)

Degree	Chord	Quality	Function
I	E	Major* * 3rd raised artificially	Secondary Tonic
II	F	Major	Resolutive
III	G	Major	Middle
IV	Am	minor	Great Tonic
V	Bdim	diminished	Diminished
VI	C	Major	Intermediate
VII	Dm	minor	Semi-resolutive

Dual-Harmony Flow

In the Fandango family, guitar solo sections use the Phrygian cadence (minor key) and vocal accompaniment uses the relative major key.

preludio Instrumental

cadencia andaluza

Am → G → F → E

IV → III → II → I

acompanamiento

armonia tradicional

C → F → C → G7 → C

I → IV → I → V7 → I

resolucion

cadencia resolutiva

F → E

II → I

Flamenco Formal Structure

Temple

The cantaor's vocal preparation before singing, using ayeos and characteristic syllables. Sets the pitch and emotional tone of the piece.

Falseta

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.

Llamada

A signal to transition between sections. Contains identifying rhythmic and harmonic elements that communicate the upcoming change to other performers.

Letra (Verse)

The vocal verse sections, metrically fitted to the palo's rhythmic structure. The guitar accompanies with compas patterns and harmonic support.

Cierre (Close)

A short musical fragment to conclude llamadas, falsetas, or sections. Provides rhythmic and harmonic closure.

Remate

At least one additional compas after a llamada or falseta, giving a lively, emphatic character to the conclusion.

Escobilla (Dance Section)

The dance section featuring zapateado (footwork). Often features progressive acceleration. The guitar provides rhythmic compas support.