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6505004
6505004

Flamenco Music Theory

By Lola Fernandez

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http://www.sheetmusicplus.com/title/flamenco-music-theory-sheet-music/6505004?ac=1

Flamenco Music Theory composed by Lola Fernandez. For Guitar (Classical). Theory & Harmony. Flamenco. Beginning-Intermediate. Book. 136 pages. Published by Acordes Concert (MB.L0010).

ISBN 9788460935148. Flamenco. 6.75" x 9.5" inches.

Flamenco Music Theory is an analysis of the specific elements related to its expression: from, rhythm, melody and harmony. Composers and artists from other musical genres can become familiar with flamenco by learning more about its musical elements, while students in music schools and conservatories will find Flamenco Music Theory useful as a textbook for further study.

  • Foreward By Claude Worms 
  • Foreward By Oscar Herrero 
  • Introduction 
  • 1. Form 
  • Terminology: Cante (song), Palo (song form), Tercio (verse) 
  • Categories of Flamenco Songs 
  • General Categories of Cantes by Families 
  • Basic Form of a Cante 
  • Formal Components of the Instrumental Accompaniment 
  • Vocal Sections 
  • Listening Guides 
  • 2. Rhythm 
  • Rhythm, Pulse and Accents 
  • Rhythm and Compas (Meter and Time Signature) 
  • Flamenco Rhythms and Compases 
  • Definition of the Flamenco Term: Compas 
  • Flexible, or "Elastic". Meter 
  • Rhythmic Classification of the Cantes (Songs) 
  • Flamenco Meters 
  • Twelve-beat Compas (Meter) 
  • Types of Twelve-Beat Meter 
  • The Flamenco "Clock" 
  • Rhythmic Families With A Twelve-Beat Compas: 
  • Representative Cantes 
  • SEGUIRIYA 
  • Solea 
  • Buleria 
  • Guajira, Petenera and Others 
  • Alegrias 
  • The Binary (Duple-Meter) Family: Representative Cantes 
  • Tangos y Tientos 
  • Tanguillos  
  • The Ternary (Or Triple-Meter) Family: Representative Cantes 
  • Fandangos 
  • The "Apparently Free" Meter Family 
  • 2. Melody 
  • Modal System and Tonal System 
  • Musical Systems and 
  • Modes Used in Flamenco Music 
  • Flamenco Melodies 
  • Vocal Melodies of Modal Cantes 
  • General Characteristics of 
  • Melodies in "Unaccompanied" Cantes 
  • Phygian Mode 
  • Key Signature for the Phygian Mode 
  • Major-Phygian Mode 
  • Phrygian Cantes and Major-Phygian Cantes 
  • Ionian Mode and Cantes in the Ionian Mode 
  • Mixed-Mode Cantes or Cantes that Modulate 
  • The Flamenco Mode and Cantes in the Flamenco Mode 
  • Characteristic Melodies 
  • Microtonalism 
  • 3. Harmony 
  • Flamenco Harmony 
  • The Flamenco Mode 
  • Flamenco Mode Key Signature 
  • Flamenco Tonalities, or Keys 
  • Andalusian Cadence 
  • Flamenco Cadence 
  • Flamenco Mode Perfect Cadence, or Resolving Cadence 
  • Flamenco Mode Perfect Cadences or Resolving Cadence 
  • Variations within the Flamenco Cadence 
  • Substitute Chords 
  • Chord Variations 
  • Second Tetrachord of the Flamenco Mode: Scale Degrees V, VI, and VII 
  • Secondary Dominants  
  • Bimodality or Dual Modality: The Flamenco Relative Major 
  • Other Characteristic "Inflections" or Modulations: The Cambio (Change) 
  • Harmony of the Most Representative Cantes 
  • Liviana, Serrana y Cabales 
  • El Polo y La Cana 
  • Tangos 
  • Tangos Tonales 
  • Fandangos and Cantes from the Levante Family 
  • Fandangos "A compass" (In Strict Rhythm) 
  • Natural Fandangos, Malaguena, rondena, Granaina, and Cantes from Levante 
  • Cantes de Ida y Vuelta Family 
  • GUAJIRA 
  • Colombiana 
  • Garrotin y Farruca 
  • Flamencoized Cantes Family 
  • Petenera 
  • Sevillanas 
  • Keys and Modes of the Cantes 
  • 4. Contemporary Flamenco and Flamenco "Fusion" 
  • Jazz-Flamenco and Flamenco-Jazz Fusion 
  • Instrumental Options, Other Types of Fusion and Future Prospects 
  • Bibliography 

Flamenco Music Theory

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