What is the Seguiriya cadence?

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

What scale is used for Seguiriya?

Seguiriya uses E phrygian (E–F–G–A–B–C–D).

Seguiriya

Seguiriya FamilyE Flamenco PhrygianKey sig.: A minorBlasco 1: Phrygian cadence exclusively

Position: por arriba

Capo / Transposer

Capo:

Guitar position: por arriba | Sounding key: E

Interactive Progression

Do Re MiC D E

Harmony

OriginalPass Chords

ivLam

IIISol

IIFa

IMi

BPM: 120

Triad Diagrams — Mi Seguiriya (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

Resolutive cadence: F → E (II → I)

Scale

E phrygian

EFGABCD

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

Roman's Oscillating Cadence

Seguiriya (Roman)

B(addb9) → C7 → B(addb9)

Oscillating cadence between bII (with b9) and tonic. Creates the characteristic dark tension of Seguiriya.

Blasco Category 1:

Palos that use the minor key in its Phrygian cadence form almost exclusively, in both sung parts and guitar solo sections.

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.