Basically, we took the diatonic chords (chords belonging to the key) from C major, which are C, Dm, Em, F, G, Am, B°.  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). your harmony stands with the Eb, if you play a Cminor chord… the Amajor could sound a bit awkward, but it can be ok and even great, depending the melody… R:jig A solo using the E Phrygian scale sounds good over the E major chords in the progression despite the scale’s minor tonality. Even so, the cadence stays authentic. Terms and Techniques You Need to Know. Still good! If you are a member of The Session, log in to add a comment. So you get a nice mix of chords available in spanish phrygian, with E major as tonic. Dm - C - Bb - A, The chords in the Spanish cadence could be part of other typical progressions, or forms that is the word used in this music style. EG#B=E Fmaj, same G#dim Am, same Bdim, same C+, augmented chord Dm, same. Joined: Dec. 15 2003 Songs of the early 1960s, such as the Ventures' 1960 hit "Walk, Don't Run", used the bass structure from the iconic Andalusian cadence for a surf rock hit; however, the first chord is A Major not A minor as is a common misconception about the song. Two scales frequentlyÂ used in flamenco are "Por Aribba" and "Por Medio". (Using modal harmonies, the third, and not the fourth chord – "♭II" – acts as the dominant, substituted to tritone. My chords: The piece begins in A minor and clearly uses the cadence pattern as a basso ostinato - resulting in Amin - Emin - Fmaj - E7. So combine the chords formed by that scale and the one above, and you see some other chords available to use for a flamenco form in "spanish phrygian" mode. info). But like I said it’s the musician’s choice, and it also depends on the tune. Also, don't be afraid of the v. It's a great chord, but it takes you out of phrygian a bit. That major I sounds either Spanish or Jewish (or both), which are great things when you're writing Spanish or Jewish (or both) music, but it changes the feel entirely. L:1/8 Just use vø7 in first inversion -- which is just bvii with an added 6. A popular melodic pattern of Ancient Greece offers a possible starting point for the Andalusian cadence. My scale is Here's a typical Phrygian chord: C+Db+F+Bb. You can sometimes substitute an Eb for the Cmin. So any hints how to back up this mode? I use it a lot in STM and ITM,specially with mixolydian and dorian… Spanish Phrygian, Spanish Major and, less often, Freygish or Ahava Rabboh Scale, which is Hebrew for the Jewish Scale). This alters the progression slightly; Amin – Gmin – Fmaj – E7. "Gm"g2a _bag|"D" f2g fdc|"Gm"_B2G "D" AGF| DGF [1 "Gm"G_Bd:|\ The notes in this scale are the same as for the. Freygish/hijaz is D Eb F# G A Bb C D.  If the semitone falls between the highest two steps, the melody tends to be ascending (e.g. Posts: 181 |:F|"Gm"DGA _B3|"A" c_Bc "D"d2g|"Gm" gfd _Bcd|"A"cAG AGF | People feel the need to be like, "b2b2b2b2 look look, I'm in phrygian. The Andalusian cadence (diatonic phrygian tetrachord) is a term adopted from flamenco music for a chord progression comprising four chords descending stepwise—a vi–V–IV–III progression with respect to the major mode or i–VII–VI–V progression with respect to the minor mode. F - E - F - E - Am - C - F - E (por arriba) Am - G6 - E However, just like the … VII – V), are forbidden. L:1/8 your harmony stands with the Eb, if you play a Cminor chord… the Amajor could sound a bit awkward, but it can be ok and even great, depending the melody…. Despite the name it is not a true cadence (i.e., occurring only once, when ending a phrase, section, or piece of music); it is most often used as an ostinato (repeating over and over again).