The Andalusian cadce (diatonic phrygian tetrachord) is a term adopted from flamco music for a chord progression comprising four chords descding stepwise – a iv–III–II–I progression with respect to the Phrygian mode or i–VII–VI–V progression with respect to the Aeolian mode (minor).
It is otherwise known as the minor descding tetrachord. Traceable back to the Raissance, its effective sonorities made it one of the most popular progressions in classical music.
The Andalusian cadce can be regarded as a modulation betwe the Phrygian mode of a Major part scale and the Phrygian Dominant mode of a Harmonic Minor scale, e.g. E, F, G (phrygian) or G ♯ (phrygian dominant), A, B, C, D.
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Despite the name it is not a true cadce (i.e., occurring only once, wh ding a phrase, section, or piece of music
); it is most oft used as an ostinato (repeating over and over again). It is heard in rock songs such as Runaway by Del Shannon.
Offers a possible starting point for the Andalusian cadce. Called the Diatonic tetrachord, the sequce resembles the bass line of the chord progression developed cturies later. Some theorists consider that the same structure may have occurred earlier in Judah.
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A sequce more or less close to the Greek tetrachord structure might have be known to the Moors in Southern Spain and spread from there through Western Europe. The Frch troubadours were influced by the Spanish music.
The Andalusian cadce known today, using triads, may not have occurred earlier than the Raissance, though the use of parallel thirds or sixths was evidt as early as the 13th ctury. One of the earliest uses of this chord sequce is se in Claudio Monteverdi's choral work, Lamto della Ninfa. The piece begins in A minor and clearly uses the cadce pattern as a basso ostinato, resulting in Amin – Emin – Fmaj – E7.
The progression resembles the first four measures of the 15th ctury Passamezzo antico; i – ♭ VII – i – V. The use of the ♭ VI chord may suggest a more rect origin than the Passamezzo antico since the cadces i – ♭ VII and ♭ VII – i were popular in the late Middle Ages and early Raissance, (see also double tonic) while ♭ VII – ♭ VI arose as a result of advancemt in music theory.
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However, the absce of the leading tone from the ♭ VII chord suggests that the progression originated before the tonal system in the modal approach of the time of Palestrina, where the tonic must be approached from chord V whereas typical Baroque style would have avoided the flat VII and introduced dominant chords (♯ VII or V chords, to form cadces resolving upon chord i).
The latter mtioned above), that is to be found as the upper tetrachord of a natural minor scale (for A minor, they are: A G F E).
A remarkable fact about tetrachords was noticed since the Ancit times and rediscovered in early Raissance: wh a tetrachord features a semitone (half-step) betwe two of its tones, it is the semitone that will determine the melodic tdcy of the giv tetrachord or mode (wh combining tetrachords).
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If the semitone falls betwe the highest two steps, the melody tds to be ascding (e.g. major scales); a semitone betwe the lowest tones in the tetrachord involves a melody inclined to descd. This said, the Phrygian tetrachord, borrowed from traditional music of Eastern Europe and Anatolia,
Is to be found also in the Andalusian cadce and sets the mtioned character (the semitone falls betwe [the roots of] V and ♭ VI).
A rigorous analysis should note that many chord progressions are likely to come from an epoch prior to early Baroque (usually associated with birth of tonality).
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In such cases (also, that of the Andalusian cadce), explanations offered by tonality neglect the history and evolution of the chord progression in question. This is because harmonic analyses in tonal style use only two scales (major and minor) wh explaining origins of chord moves. In exchange, the luxuriant modal system (i.e., the tirety of musical modes ever created and their specific harmonies – if existing
) offers various plausible origins and explanations for every chord move. However, most classical (Baroque or subsequt) and popular music which makes use of the giv chord progression might treat it itself in a tonal manner.
A number of musicians and theorists (including rowned guitarist Manolo Sanlúcar) consider the Andalusian cadce as a chord progression built upon the Phrygian mode.
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Since tonality took the first chord in the progression for a tonic (i), the Phrygian notation (modal) of the cadce writes as following: iv – ♭ III – ♭ II – I (or, more commonly, but less correctly, iv – III – II – I
). Though tonal functions have little in common with the Phrygian mode, the four chords could be roughly equalized. (The Phrygian mode is like a natural minor with step two lowered;
However, step three switches betwe major and minor third, an equivalt to the subtonic/leading tone conflict in the tonal acceptation.) Thus, the iv corresponds to a subdominant chord, while ♭ III is the mediant and I is the tonic. The ♭ II chord has a dominant function,
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(The only purpose for highlighting these functions is to compare betwe the modal and tonal views of the cadce. The mode involved in the cadce is not a pure Phrygian, but one whose third step occurs in both instances, minor and major third. This is unacceptable in tonality;
Hce, tonal functions cannot be used. A common mistake occurs wh the giv mode is thought of as major, giv that the tonic chord is major.
However, the Phrygian mode features a minor third and the I chord may be tak for a borrowed chord, i.e., a Picardy third.)
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Wh the VI chord, which may be added betwe III and ♭ II (iv–III–VI–♭ II–I) and cadced upon, is the most characteristic contrasting tonal area, similar by analogy to the relative major of a minor key.
Another modification gives the progression a more characteristically modal sound by simply replacing the VII with a vii chord. This alters the progression slightly; Amin – Gmin – Fmaj – E7. It can be found in Chanela, by DiMeola / McLaughlin / De Lucia. Although this example is in the key of B minor, the applied principle is the same.
The tonal system sets three main functions for the diatonic tertian chords: tonic (T), dominant (D) and subdominant (SD). Any sequce through differt functions is allowed (e.g. T→D, SD→D), except for D→SD.
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A tonal scale's degrees are as following: I and VI are tonic chords (of which, I is stronger; all final cadces d in I), V and VII are dominants (both feature the leading tone and V is more pott), IV and II are subdominant chords (IV is stronger).
(III isn't giv a precise function, although it may replace a dominant in some cases.) All sequces betwe same-function chords, from the weaker member to the stronger (e.g. VII – V), are forbidd. Wh using the natural minor, dominant chords exchange their leading tone for a subtonic; as a result, their dominant quality is strongly undermined.
A tonal insight on the Andalusian cadce leads to considering the ♭ VII a local exception: the subtonic it uses for a root should be, however, re-replaced by the leading tone before returning to i. (The leading tone is heard in the V chord, as the chord's major third.) A ♭ VII would leave the dominant category (compare: ♮ VII) and start acting to the contrary.
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That is, a ♭ VII chord would now prefer moving to a subdominant rather than to a tonic chord. Yet, the Andalusian cadce brings about a limit condition for tonal harmony, with a ♭ VII – ♭ VI chord move.
The Andalusian is an authtic cadce, because a dominant chord (V) comes just before the tonic i. (Using modal harmonies, the third, and not the fourth chord – ♭ II – acts as the dominant, substituted to tritone. Ev so, the cadce stays authtic. The fourth chord itself is the tonic, so the cadce need not return to the tonal tonic, i.e. modal iv.)
The standard tuning in guitars causes most flamco music to be played only in a few keys. Of those, the most popular are A minor and D minor (equivalt to E and A Phrygian, respectively).
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Using a capotasto or scordature, other keys can be obtained, mainly derived from the two basic keys. Flamco guitarist Ramón Montoya and singer Antonio Chacón were among the first to use the new keys, which have distinctive names:
Used the bass structure from the iconic Andalusian cadce for a surf rock hit; however, the first chord is A Major not A minor as is a common misconception about the song. Other notable examples from popular music are Stray Cat Strut by The Stray Cats, Good Vibrations by The Beach Boys, Like a Hurricane by Neil Young, Happy Together by The Turtles, California Dreamin by The Mamas and the Papas, and Sultans of Swing by Dire Straits.
The Andalusian cadce is featured in the
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