Английская Википедия:Flamenco mode

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Файл:Flamenco mode.png

Flamenco mode Шаблон:Audio.

In music theory, the flamenco mode (also Major-Phrygian) is a harmonized mode or scale abstracted from its use in flamenco music. In other words, it is the collection of pitches in ascending order accompanied by chords representing the pitches and chords used together in flamenco songs and pieces. The key signature is the same as that of the Phrygian mode (on E: no accidentals; on C: four flats), with the raised third and seventh being written in as necessary with accidentals. Its modal/tonal characteristics are prominent in the Andalusian cadence.

Файл:Flamenco mode mixed thirds.png

The two possibilities for ascent and descent over the tonic in the flamenco mode Шаблон:Audio: a chromatic tetrachord (E–F–GШаблон:Music–A) and/or Phrygian tetrachord (E–F–G–A) Шаблон:Audio.

The exact chords depend on the song form (palo) and guitar chord positions since chord voicings in flamenco often include nontriadic pitches, especially open strings. It is characteristic that III, Шаблон:MusicII, and I appear as dissonant chords with a minimum of four tones (for example seventh chords or mixed third chord). Since the tetrachord beginning on the tonic may ascend or descend with either G-sharp or natural (Phrygian tetrachord), the mixed-thirds clash between the major third degree (GШаблон:Music) in the melody and the minor third degree (GШаблон:Music) in the accompanying harmony occurs frequently and is characteristic of the flamenco esthetic, as with the blues scale on a major chord.

Файл:Flamenco augmented sixth chord.png

Augmented sixth chord: B^{7Шаблон:Music5}/F—E or Шаблон:MusicIIШаблон:SubSup—I Шаблон:Audio.

Файл:Cassado's Sonata Espanola- Rapsodia flamenco style melismas bars 29-30.png

Flamenco style melismas from the first movement of Cassadó's Sonata for Cello (1925), m.29-30, cello part (the figure first appears in the piano in measures 1 and 3) (Шаблон:Audio)

Файл:Flamenco mode two Phrygian tetrachords.png

Flamenco mode with two Phrygian tetrachords Шаблон:Audio, also known as the Gypsy major scale.

This tetrachord may be copied in the second, producing a DШаблон:Music and allowing an augmented sixth chord on the second degree: B^{7Шаблон:Music5}/F.

Lou Harrison composed a "Sonata in Ishartum" (1974 or 1977), which has been arranged by Tolgahan Çoğulu (2001), part of his Suite. In early scholarship regarding a Babylonian cuneiform inscription tuning tablet from the eighteenth century BC, "Ishartum" was equated with the modern Phrygian, but now it isconsidered equivalent to the Ionian mode/major scale. Çoğulu's arrangement, at least, is the white note mode on E in Pythagorean tuning, as follows (Шаблон:Audio): FШаблон:Music, CШаблон:Music, GШаблон:Music, DШаблон:Music, A, E, B (FШаблон:MusicШаблон:Music, CШаблон:MusicШаблон:Music, GШаблон:MusicШаблон:Music), or E (1/1), FШаблон:Music (256/243), GШаблон:Music (32/27), A (4/3), B (3/2), CШаблон:Music (128/81), D (16/9), E (2/1), with GШаблон:MusicШаблон:Music being 81/64.

See also

• Phrygian dominant scale
• Upper leading tone
• Double harmonic scale