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c 





aka The Andalusian Cadence

Traditional Name Tonal Key Modal Key Progression







 A minor (C major) E Phrygian Am G F E

 

 D minor (F Major) A Phrygian Dm C Bb - A


      B minor (D major) F# Phrygian Bm A G F#



      E minor (G major) B Phrygian Em D - C B



     C# minor (E Major) G# Phrygian C#m B A G#

 
      F# minor (A major) C# Phrygian F#m E D C#

Harmony can be thought of 



 
 (1) 
 I bVII bVI V
(2) 
VI - VI V IV III
(3)   IV III II I

I like to think of it  e.g. For E Phrygian, just think of the tune as in 
except I
just think of  . All the chords are in C Major, they are just put in a different
order, therefore ^  
   

    


.

The final two chords, (e.g. the F and E in the por arriba) are really your home. Its typical
just switch back and forth between them for a while. This is another reason why the modal
conception is good, these are your I and II chord in the modal conception.

NOTE Really all these guys learn  ^ 


(por arriba, por medio) and then just
use the capo on the 2nd or 4th fret to achieve the other keys. This is because the open chords
are very important to the sound.