Tangos
Position: por medio
Capo / Transposer
Guitar position: por medio | Sounding key: A
Compas — 4/4, 8 beats
Interactive Progression
Resolutive cadence: Bb → A (II → I)
Harmonic Structures
| Name | Chords | Degrees |
|---|---|---|
| a) II-VII-I | Bb – Gm – A | II – VII – I |
| b) II-III-II-I | Bb – C9 – Bb – A | II – III – II – I |
| c) VII-I | Gm – A | VII – I |
| d) II-I | Bb – A | II – I |
Scale
III altered to C# (leading tone of IV/Dm), VII optionally altered to G# (leading tone of I/A). Augmented 2nd intervals possible between II/III and VI/VII.
Related Scales
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 with raised 3rd. The most characteristic sound when playing over the I chord in flamenco. Fifth mode of Harmonic Minor.
Six-note scale of whole tones. Used by Albeniz and adopted in flamenco for impressionistic passages and augmented chord contexts.
Flamenco Mode Degrees (A)
| Degree | Chord | Quality | Function |
|---|---|---|---|
| I | A | Major* | Secondary Tonic |
| II | Bb | Major | Resolutive |
| III | C | Major | Middle |
| IV | Dm | minor | Great Tonic |
| V | Edim | diminished | Diminished |
| VI | F | Major | Intermediate |
| VII | Gm | minor | Semi-resolutive |
Cadence Reharmonization
By substituting chords within the same harmonic function, the cadencia andaluza can be reharmonized in 31 different diatonic ways. None is literally the original I-VII-VI-V, but the ear identifies them all as Andalusian cadences because the substitute chords share the same function.
Original: D-7 | C7 | Bbmaj7 | A(b9) — 31 diatonic variants
Harmonic Function Pools
Secondary Dominants
| Variation | Chords |
|---|---|
| With secondary dominants | D-7 | G7 | C7 | F7 | Bbmaj7 | E7 | A(b9) | A7 Secondary dominants added on weak bars (even-numbered). G7→C7, F7→Bbmaj7, E7→A(b9). |
| With tritone substitutions | D-7 | Db7 | C7 | B7 | Bbmaj7 | Bb7 | A(b9) | Eb7 Tritone subs replace secondary dominants: Db7 for G7, B7 for F7, Bb7 for E7, Eb7 for A7. Creates chromatic bass descent. |
| With diminished 7th substitutions | D-7 | B°7 | C7 | A°7 | Bbmaj7 | G#°7 | A(b9) | C#°7 Ascending diminished 7th chords substitute secondary dominants. Built on the leading tone of each resolution chord. |
| Secondary + postponed tritone subs | D-7 | G7 Db7 | C7 | F7 B7 | Bbmaj7 | E7 Bb7 | A(b9) | A7 Eb7 Both secondary dominants and their tritone subs share the rhythmic space, creating maximum harmonic density. |
| With sus4 approach chords | D-7 | G7sus4 G7 | C7 | F7sus4 F7 | Bbmaj7 | E7sus4 E7 | A(b9) | A7sus4 A7 Each secondary dominant is preceded by its sus4 form, creating a smoother approach (sus4 resolves to dominant which resolves to target). |
Tangos Cadence (modern)
Modern tangos voicing with Lydian tensions on bII and dominant 9th on III
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.