Flamenco Music Theory: Rhythm, Harmony, Melody, Form

Flamenco Research Award "Cante de las Minas International Festival", La Unión, Murcia, Spain.

Flamenco is not only music, but it is, above all else, music. Flamenco music is a unique and genuine art form with an unusual degree of artistic wealth and musical complexity. "Flamenco Music Theory" is an analysis of the specific elements related to its expression: form, rhythm, melody and harmony. This classical approach to analysis, theory and notation provides musicians with familiar tools and terminology for a more detailed study of flamenco music. Flamenco musicians will find this book helpful for gaining further insight into the music they perform. 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.

CONTENIDO:

Foreword by Claude Worms
Foreword by Óscar 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 Compás (Meter and Time Signature)
-Flamenco Rhythms and Compases
-Definition of the Flamenco Term: Compás
-Flexible, or ?Elastic?, Meter
-Rhythmic Classification of the Cantes (Songs)
-Flameco Meters
. Twelve-beat Compás (Meter)
. Types of Twelve-Beat Meter
. The Flamenco ?Clock?
-Rhytmic Families with a Twelve-Beat Compás
-Representative cantes
. Seguiriya
. Soleá
. Bulería
. Guajira, Petenera and Others
. Alegrías
-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

3. 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
-Phrygian Mode
-Key Signature for the Phrygian Mode
-Major-Phrygian Mode
-Phrygian Cantes and Major-Phrygian 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

4. 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
. 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
. Seguiriya
. Liviana, Serrana y Cabales
. Soleá
. El Polo y La Caña
. Bulería
. Tangos
. Tangos Tonales
. Tanguillos
. Alegrías
. Fandangos and Cantes from the Levante Family
. Fandangos ?A Compás? (In Strict Rhythm)
. Natural Fandangos, Malagueña, Rondeña, Granaína, and Cantes from Levante
. ?Cantes de Ida y Vuelta? Family
. Guajira
. Colombiana
. Garrotín y Farruca
. Flamencoized Cantes Family
. Petenera
. Sevillanas
. Keys and Modes of the Cantes

5. Contemporary Flamenco and Flamenco "Fusion"
-Jazz-Flamenco and Flamenco-Jazz Fusion
-Instrumental Options, Other Types of Fusion and Future Prospects

Bibliography