by Enrique Vargas
This book deals with the body of main flamenco modes extracted from the Arabic modal system Maqam. First, the concept of tetrachordal modal construction (ajna in Arabic) is introduced. The ten main flamenco modes are explained, and the concept of advanced, horizontal left hand fingerings for guitar is introduced.
Since modern flamenco harmony is heavily influenced by jazz, the concept of harmonic sub- stitutions is introduced. Different types of harmonic substitutions - direct, indirect, tritone, backdoor, etc, are analyzed and four types of II V I and IV V I cadences are explained. The harmonic aspects of the flamenco modes are analyzed. The use of add chords in flamenco tonalities is presented and various examples of traditional flamenco forms are harmonized, with a detailed explanation of the harmonic substitutions being applied.
The concept of the Andalusian Cadence and Hijaz tonality are introduced. Each flamenco mode is harmonized tetrachordally and analyzed, and numerous examples of flamenco modes/harmonies are given.
This appendix contains 55 licks in the main flamenco modes. These licks are harmonised and each come with complete guitar finger- ings. Still, when the guitar fingering symbols are disregarded, they are perfectly valid for any melodic instrument.
This appendix is a complete thesaurus of the flamenco modes in all of their vertical and horizontal guitar fingerings, and are written in every flamenco tonality.