This book is aimed at all musicians who want to learn about flamenco harmony through the flamenco instrument par excellence, the guitar.

This book analyses 166 falsetas (variations) from numerous eras, comprising a wide range of 'palos' - soleá, tangos, bulerías, siguiriyas, fandangos and more - from the most emblematic guitarists in the history of flamenco. It is not only a vital tool for understanding and transcribing the music of the great maestros of the genre but also provides clear, comprehensible explanations of flamenco composition.

Countless classical composers have explored flamenco guitar harmony since the nineteenth century and incorporated some of its twists into their own music, including Glinka, Rimsky-Korsakov, Ravel, Debussy, Albéniz, Turina, Falla and many more.

INDEX

INTRODUCTION
Annotation symbols used in chords and diagrams
Transported tones in the flamenco mode
Modulations

PART ONE: FLAMENCO E ("Por arriba") MODE
The degrees of the flamenco mode and their harmonization
Flamenco cadence
Extension of the first degree chords in flamenco mode
E7(b9) chords, sequence II - I; superimposing the chords of the first two degrees
Main sequences in the chords of flamenco cadence
Substitute chords
Secondary dominants
Modulations
Falsetas created in the harmonic sequences described above
Summary

PART TWO: THE FLAMENCO A ("Por medio") MODE
The degrees of flamenco A mode and their harmonization
Extension of the chords of the first two degrees of the mode
Flamenco cadence
Chord of A7(b9); sequences II - I; superimposition of the chords of the first two degrees
Main sequences in the chords of the flamenco cadence
Substitute chords
Secondary dominants
Modulations
E - A - D - G - B flat - D tuning
Summary

APPENDIX
Flamenco E mode ("Por arriba")
Flamenco A mode ("Por medio")

Author: Claude Worms

Format: A4
208 pages
Spanish - English - French

Editorial: Acordes Concert