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Development[ edit ] Towards the second half of the 19th century, some interpreters gave the first steps in transforming this folkloric songs into real flamenco. They slowed it down although still keeping the eastern fandango rhythm pattern known as "abandolao" , they enriched the melody with flourishes and ornaments and reduced accompanying instruments to a single guitar.
In this process, they were probably influenced by other flamenco styles, but modern research also suggests that the influence of Opera , Zarzuela and other classical music styles also played a part in this development[ This quote needs a citation ]. The third step in the evolution was the total loss of a rhythmic pattern. They were in a sense, creators of a completely new style, fashioned by professional or semi-professional artists. Many though, have been omitted as they are rarely performed or are just variations of other main styles.
Juan Breva. Enrique el Mellizo. El Canario. Some of these styles can often be seen as simple variations. Most of these styles were already recorded by him between and La Trini. At that time its function was merely rhythmic and limited to the use of one technique, the strumming pattern called "abandolao".
They also started introducing short guitar solos in between verses, called falsetas in the flamenco jargon, following the model of other flamenco songs. Musical analysis[ edit ] The singing develops on a major mode tonic , subdominant , dominant , resolving in the corresponding Phrygian mode of the same scale.
The Phrygian mode is used for the short interludes after of before verses. For example, D7 is often used in the transition to G Major.
These chords can also be transported by using a capo on the guitar, maintaining the same chord positions. Its melodies are normally lyric in style and very ornate.
Malaguena (3) by Lecuona, Ernesto
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Malaguena by Lecuona, Ernesto