Wor on: ==================================== "Manha de Carnaval" (materials) 1 arpeggio video https://youtu.be/OlGgg1k4NUk?t=25s 2 arpeggio PDF I http://www.rdiaz.org/rd-download160tvhja23160.html 3 arpeggio PDF II http://www.rdiaz.org/rd-download161bhjsak76161.html 4 Melody video https://youtu.be/FH1rwZ9bKPA?t=19s 5 Solo piece PDF http://www.rdiaz.org/rd-download164hjbfe74164.html 6 Melody PDF http://www.rdiaz.org/rd-download162ytjdug78162.html 7 Chart of chords http://www.rdiaz.org/rd-download297ibhde41297.html 8 Private video https://youtu.be/MiPrx3edRqM?t=6m29s 9 New Tutorial https://youtu.be/0lA4jGMMbys?t=28m25s 10 Theme solo theme https://youtu.be/0lA4jGMMbys?t=54m26s 11 Paco soloing with the trio https://youtu.be/1hVihgUvx8Q?t=2m4s .. Chords | Am Am |Bm-5 E7 | Am Am/g| F E7 | Am Am |Dm G7 | C C | C#o C#o || Dm Dm | G7 G7 |C C | F F | | Bm-5,Bm-5| E7 E7 | Am Am/g| F E7 | | Am Am |Bm-5 E7 | Am Am/g| F E7 | |Em-5,Em-5| A7 A7 | Dm Dm | Dm Dm| Dm Dm |Bm-5 E7 | Am Am/g| F F || E7 E7 | E7 E7 | ..... Zone of C major Open fingering 1 Fingering 4 from 3th fret Fingering 3 from 5th fret Fingering 6 from 7th fret Fingering 5 from 8th fret Fingering 2 from 10th fret .......... We can play diminished scale for the following chords: .......... C#dim , Em7b5 , A7 ... C#dim x4535x Em7b5 0100xx A7 x0532x ... Diminished scale from Bb , Db , E, G from frets: 3, 6, 9, 12 ................ * We could also use diminished scale for: Bm7b5 & E7 ... That is diminished scale from frets: 1, 4, 7 , 10 F, Ab, B, D ...................................................................... DIMINISHED SCALE (chains of b3ths) On the V7b9 chord we can also use diminished Scale (b3ths) PDF 1 http://www.rdiaz.org/D-Fingerings%20III-1A/Fingerings%20III-1A.pdf (Read only first 2 lines of the PDF) from the b2 of the V7b9 chord which means diminished scale from C, Eb, F#, A From frets 2, 5, 8, 11 ...................... Videos to practice the 3 fingerings we use: b3ths Scale Fingerings 78 bpm 2npb Video 7) https://youtu.be/SdIz98sqqR8?t=39s Video 8) https://youtu.be/SdIz98sqqR8?t=3m26s Left Video 9) https://youtu.be/SdIz98sqqR8?t=5m25s right Video 10) https://youtu.be/rBDIIn4MD9c?t=37s left and right Video 11) https://youtu.be/rBDIIn4MD9c?t=2m46s All fingerings .......................... Video 12) How to combine diminished & major scales https://youtu.be/3uW7i9Jq1aw?t=4m56s ....... Video 13) https://youtu.be/ZsdfdR4cQOY?t=1m12s to strengthen right hand / b3ths ....................................................................... Modal Realm The Andalusian cadence is made out of 4 chords or degrees as follows: Im, bVII, bVI, V7b9. Out of this 4 chords the most important one is the degree V7b9 (not the I) *On Am key, the andalusian cadence would be as follows: Im, bVII,bVI,V7b9. Am, G, F, E7b9 ............ Chords: Am = x02210 G = 32000x F = 133211 E7b9 = 023100 ......... To practice phrasing do it from the root of the main chord E (V7b9) HOW TO KNOW WHICH MAJOR SCALE WE CAN PLAY A modal way to play melodies over this chord changes is using major scale. On chords belonging to the andalusian cadence we can find the major scale which is suitable to be played, and that is located at a b3 up (b3th = 1t ½) from the tonic (Im) or 1st degree of the andalusian cadence Ionic mode = Major scale Here is the map on the fretboard: Zone of C major Open fingering 1 Fingering 4 from 3th fret Fingering 3 from 5th fret Fingering 6 from 7th fret Fingering 5 from 8th fret Fingering 2 from 10th fret ...... In flamenco we can use every Greek mode, but we will only think of them from one mode, namely the Ionian or major natural scale (fingerings) Therefore using Ionian mode from different points of the chords we are playing over all modes and that way we will use the Ionian mode as a master key, and next is the Table of EQUIVALENCES (to that end) 1) Ionian is Ionian when played from 1st of the chord 2) Ionian becomes Dorian when played from b7th of the chord 3) Ionian becomes Phrygian when played from b6th of the chord 4) Ionian becomes Lydian when played from 5th of the chord 5) Ionian becomes Moxilidian when played from 4th of the chord 6) Ionian becomes Aeolian when played from b3th of the chord 7) Ionian Becomes Locrian when played from b2th of the chord ......... IN FLAMENCO MODES ARE USED AS FOLLOWS For minor chords we use Dorian and Eolian (minor natural scale) For sub diminished chords we use locrian ---- For mayor chords we use both Ionian and Lidyan modes (depending on the case) ---- For dominant chords we use Phrygian over a V7b9 (that is Ionian over the b6th of that dominant chord) (Mixolidian can also be used as well provided its not played over any V7b9 chord) Note: In flamenco to describe melodically any dominant chord (viz. in modal language or with any other scale) the first thing that we have to observe first is if the chord in question has a b9 or otherwise. ................................................... Some chords: am x07555 Bm7b5 7x776x E7 07676x Am x0225x Am/G 3x225x F x0356x E7 chord 4x340x .... Am x0255x Dm x5356x G7 7x576x C 8,x,9,9,8,x C#dis 9,10,8,9,x,x dm 10,8,10,10,x,x G7 10,10,9,10,x,x, C 8,x,9,9,8,x F x8,10,9,10,x Bm7b5 7,8,7,7,10,x E7b9 0,7,9,10,9,x Am x0255x Am/G 3x245x F 1x223x E7b9 0x345x ....... am x07555 Bm7b5 7x776x E7 07676x Am x0225x Am/G 3x225x F x0356x E7 acorde 4x340x