Taranto no.4 (Sheet Music/Tablature)

This falseta is yet another in the set of pieces that made up the music for Cristina Hoyos’ epic Taranto. After learning the first three you will start to get a feel for what Jose was going for here (Lot’s of feminine harmonies especially the D major chords). Let’s take a look at a few of the chords and their function.

Measure 5-6: Here we have the typical B minor chord which is the iv in F# phrygian. With the 3rd string open you get a nice minor 6th addition to the chord and the E natural in the melody which is the 11th.

Measure 8: Here we have a C#(b9) which is essentially a substitution for an altered A7 chord. Let’s look at the notes in detail: D (b9) G (7) – G# (5) E (5) – E# (3) C# (3) – C# (R) A (R) So as you can see these chords only share one common tone which is the C# which is the most important note in many ways to any chord. The other notes end up outlining an altered A7 chord (Amaj7(#5) add 11) to be exact.

Measure 9: I wanted to point out the Lydian mode used with this chord which is in essence what helps gives Flamenco an exotic sound. The C# note in the G chord is the lydian note otherwise known as the #11 (or #4). By sharping the 4th degree of any major scale (in this case the G scale) you then have the making of Lydian mode.

Measure 11-12: Here we see Jose actually go to the natural form of Phrygian instead of what I call “altered” Phrygian. Natural Phrygian is a minor chord because of the b3. So instead of F# major he plays F# minor which gives a nice modern touch. Remember as long as your melody isn’t on the #3 (A#) of the chord you can always choose to play a minor chord instead. It has a deceptive cadence type of feel and allows you to extend your phrase without being locked into the tonic chord.

Measure 14-15: Check out this ii – V7 – I progression to D major. Brilliant change which adds so much emotion when you get to the D. Remember that ii-V-I’s are the most common progression in Jazz.

Measure 16-17: After playing the D look how the melody goes to the F natural (or rather E# in this case) Here you see that he chose to harmonize this melody instead of with a G7 with the C#(b9) chord.

Measure 18-19: From the G7 here, He plays a G diminished arpeggio which outlines an A7 chord and goes to an nice inversion in measure 19. This chord may look like a A13/Bb and you could call it that, but really its just the F#(b9) in 1st inversion.

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