Seguiriya (2 of 11) by Jose Luis (SB Sessions)

Seguiriya no.2 - (Difficulty level 3)

Here is a beautiful traditional falseta that Jose plays with a few modern alterations. Let's take a look at the altered chords:

Measure 8: This is a Bb(#9)/F which gives a very exotic and unexpected sound. The C# note in the chord (#9) is mainly derived from the Altered A Phrygian key. (Altered Phrygian refers to the #3 or major third in the mode).

Measure 11: Here we have the same figure as in the previous compas but this time Jose plays a Bb9 chord. Remember for a chord to be called a Bb9 (9) means that the chord is dominant and that it must contain a minor 7th (b7) in addition to the major 3rd (#3). Otherwise it would have to be labeled as an (add 9).

Measure 13-15: This is a fairly common chord to come across in por medio but I would like to point out the altered tone of F# as a (#7) in the chord which makes it a minor/major chord. Gm(#7)/D. At the end of measure 14 he goes back to the F natural which helps tie the melody back into the standard mode to accommodate the E note which is the 5th of the A chord in measure 15.

Measure 19-21: Here the same figure is now played over a D minor with the (#7), resulting in a Dm(#7)/F. This chord then goes back to the traditional mode with the C natural in measure 20. In measure 21 we see an E(b9) which is very common outside chord found in traditional cante accompaniment (mainly when the cante goes to a B natural note). The E(b9) is also what we call the b6 chord in the key of A Phrygian. The interesting thing about this chord is that it illustrates perfectly the b5 substitution all too common in Flamenco. So essentially the E(b9) is a b5 substitution for the Bb7 chord. If we look at the two chords in detail, we see they share some common tones as well as some interesting altered tones.

Ab - G# (#3) of E
F - F (b9) of E
D - D (b7) of E
Bb - (b5) of E

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