Andalusian cadence
Andalusian cadence , also Spanish cadence , is the slang term for a linear and harmonic progression that is used in Andalusian folk music and in flamenco . The linear aspect of the model consists in the Phrygian tetrachord of the lower voice, the harmonic in the displacement of triads. The voice leading ( parallel fifths ) may have its origin in guitar or lute music . The model can also be found in rock and pop music . In terms of composition history, the artificial elaborations of the descending Phrygian tetrachord are significant in the field of classical music ; in musicology and music theory, the term lamento bass has been established for this model .
Interpretations
The minor is easy to represent in terms of level theory, since it only contains triads with the i. Stage begins and ends with a dominant V stage:
i - bVII - bVI - V
From a functional theoretical point of view, the model begins tonic and ends dominant. A further interpretation does not make sense, because the auditory impression of the model (triad indentations) contradicts a cipher that states that the chords of the model are pseudo-consonances and represent main triads (tonic, subdominant and dominant).
use
Classical music
In many works of classical music there are Phrygian cadenzas above the topos of the lamento bass , the harmonization of which may have served as a model for the "Andalusian cadenza", which was later historically settled. a. in:
- Étienne Moulinié : Jalouse envie , Air de Cour (published 1637)
- Claudio Monteverdi : Lamento della Ninfa (published 1638)
- Luigi Pozzi : Cantata Sopra il Passacaglio. Diatonica (published in 1654)
- Johann Sebastian Bach : Ciaccona from the Partita in D minor for solo violin BWV 1004 (1720)
- Anselm Viola : Quoniam from the Gloria of the Alma Redemptoris Mater -Messe, for choir, soloists and orchestra (approx. 1780)
- Carl Orff : Fortune plango vulnera from Carmina Burana (1935-6)
The Andalusian Cadence in Pop and Rock Music
- It Don't Mean a Thing by Duke Ellington (1943)
- Hit the Road Jack by Percy Mayfield (model: Phrygian half-circle)
- Don't Let Me Be Misunderstood (in the version of Santa Esmeralda also equipped with other "Andalusian" clichés)
- Sultans of Swing from Dire Straits
- Thickness by Marius Müller-Westernhagen .
- The burning red by Machine Head
- Ice Cream Man by Tom Waits
- One More Cup of Coffee (Valley Below) by Bob Dylan
- Innuendo by Queen (Spanish guitar interlude and later electric guitar solo)
- April (1st and 3rd part) by Deep Purple
- Nights In White Satin by Moody Blues (start of flute solo)
- In the year 2525 by Zager & Evans
- The Ketchup Song by Las Ketchup (Refrain)
literature
- Christoph Hempel: Harmony. The big practice book . Mainz: Schott 2014, ISBN 978-3-7957-8730-1 , p. 464.