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Vol 3 – MODAL IMPROVISATION AND MELODIC CONSTRUCTION IN THE FLAMENCO – Enrique Vargas

 35,0

  • USD: 38,0$

  • Vol. 2 – MODAL IMPROVISATION AND MELODIC CONSTRUCTION IN THE FLAMENCO
  • MODERN PENTA-, HEXA-, HEPTA- AND OCTATONIC SCALES IN THE FLAMENCO MODAL LANGUAGE
  • 110 Audio licks, or melodic examples/ideas for improvisation
  • Text in Spanish
  • Producto en STREAMING.  
Vol. 3 – MODAL IMPROVISATION AND MELODIC CONSTRUCTION IN THE FLAMENCO
MODERN PENTA-, HEXA-, HEPTA- AND OCTATONIC SCALES IN THE FLAMENCO MODAL LANGUAGE

Descripción del Vol 3 – MODAL IMPROVISATION AND MELODIC CONSTRUCTION IN THE FLAMENCO – Enrique Vargas

Content in SPANISH
Book 3: “MODERN PENTA-, HEXA-, HEPTA- AND OCTATONIC SCALES IN THE FLAMENCO MODAL LANGUAGE”
This book deals with new scales in the flamenco modal language. Some of these scales, such as the diminished, wholetone, overtone or hexatonic symmetrical, come from modern classical or jazz. Others, like the Japanese pentatonic scales Hiro-joshi, Kokin-joshi and Kumoi-joshi (or Hindu pentatonic), as well as the diatonic anhemitonic pentatonic scale, come from ethnic modalities which are external to flamenco.
The harmonic implications of these scales is analyzed. Their application in the flamenco environment is explained. These explanations are illustrated by numerous melodic examples, both original and by renowned flamenco artists.
The concept of modal substitutions is introduced. Modal polytonality is explained.
The notion of replicating dominant scales by minor thirds and tritones is introduced and various ways to resolve a tritone are explained.
Appendix I
This appendix contains a collection of 110 licks in modern penta-, hexa-, hepta- and octatonic scales. Each lick is harmonised and comes with detailed guitar fingerings. However, when the guitar fingering symbols are disregarded, they are perfectly valid for any melodic instrument.
Appendix II
This appendix is a complete thesaurus of vertical and horizontal guitar fingerings for every modern penta-, hexa-, hepta- and octatonic scales in flamenco, in every flamenco tonality.
The collection (3 Books)

Ever since flamenco caught the attention of Western composers and musicologists, its modal and harmonic landscape has caused quite a bit of confusion. Every attempt to explain flamenco’s complex modalities and the harmony they generate has been unconvincing and incomplete. The main reason it has not been coherently analyzed is due to the fact that it has always been attempted from the standpoint of Western music theory, which is primarily based on cadential relationships.

Flamenco, however, is based on a combination of an Eastern modal system, which is known in Arabic as Maqam (there is a variety of different names in other Eastern countries), and Western harmony, which has been applied to the Oriental modalities throughout the course of history in the melting pot of cultures and civilizations that is Andalusia. Without understanding the intricacies of Maqam and the harmony its complex tetrachordal combinations generate, it would be impossible to understand, let alone create a theoretically structured analysis of this musical genre.

This is the main reason these books were written; a complete and well-structured body of flamenco modal theory has been long overdue, and these three volumes are a humble attempt to achieve this objective.

Every scale, arpeggio, and melodic pattern comes with a corresponding guitar fingering, having in mind that the guitar is the primary instrument of flamenco, however, the material can be applied to any instrument. Most importantly, this series has been conceived as a theoretical and practical manual for composers, improvisers, performers, arrangers, and musicologists interested in modal music in general, and/or flamenco modalities in particular.



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