The Andalusian Mode
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Abstract
The modal archetype of the flamenco may be perceived in ancient monody – the Greek Dorian mode (the Medieval
Phrygian), which the Spanish guitarists transformed into a chord-based, harmonic system, as a result of which it
became necessary to endow the chief flamenco mode with a new title – the Andalusian mode. At the same time,
in Russian musicology it is known as the “Spanish dominant mode,” which is considered to be derived from the
harmonic minor, where the significance is transferred from the tonic to the major chord of the dominant scale
degree. This interpretation, devoid of historical foundations, is stipulated by the specificity of the manifestation
of modal-harmonic functions. The major chord on the first scale degree (in a Phrygian mode) differs considerably
from an ordinary tonic scale degree in its intensive “dominant” coloration, which nonetheless does not hinder it
from carrying out the function of a modal center, beginning and finishing off the motion. The basis of harmonic
unfolding is comprised here of alternation of the chord on the first scale degree with sonorities of a descending
leading tone (with the chords II, VII6, V43, etc.), i.e. the Phrygian cadence repeated many times, which holds a
combination of the dyad of modal functions – the ultima and paenultima. This kind of arrangement of the mode
is called upon to express the nostalgic ethos of the flamenco and the “tragic feeling of life” peculiar to Spanish
mentality (according to Miguel de Unamuno).
Keywords: Andalusian mode, dominant mode, leading note, Phrygian cadence, ultima, paenultima, modal
functions.
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