If it's in E phrygian and is a flamenco piece (perhaps phrygian major)
you'll hear a characteristic ending sequence of Am = G7 = Fmaj7 = E
If it's in the minor phrygian then I haven't a clue and the same applies
to F lydian.
I don't think I've encountered that distinction between two kinds
Jack Campin asks:
| If it's in E phrygian and is a flamenco piece (perhaps phrygian major)
| you'll hear a characteristic ending sequence of Am = G7 = Fmaj7 = E
| If it's in the minor phrygian then I haven't a clue and the same applies
| to F lydian.
|
| I don't think I've encountered that
John Chambers wrote ...That phrygian major sounds a lot like what the
people to the south and east of Spain call hejaz and klezmer musicians
call freygish. Phrygian with a raised 3rd ...
Yes. In Ephr, the ^G from the E major in the harmony creeps into the tune
now and again. But for most
Tonic is important because it says where the tune is going.
Mode is important because it says how the tune is going to get there.
If a tune is in an open key (no white notes on the harpsichord) then in the
major (or Ionian) mode the obvious harmony is the three chord trick C,
G7 and F. The
Laurie wrote:
...
To summarise it so you can see it at a glance, here it is as
a table. The
final sequence is the first two chords in reverse order e.g. G7=C.
K:Cmaj CG7 F
K:Ddor Dm E (G, Bm)
K:Ephr EFmaj7 G7 Am
K:Gmix GF (C)
K:Aaeo Am C
