Savin Pack - Harmonizing Flamenco from the guitar , Claude Worms

INTRODUCTION (Annotation symbols used in chords and diagrams, Transported tones in the flamenco mode, Modulations)

PART ONE: FLAMENCO E 'Por arriba' (The degrees of the flamenco mode and their harmonization, Flamenco cadence, Extension of the first degree chords in flamenco mode, E7(b9) chords, sequence II - I; superimposing the chords of the first two degrees, Main sequences in the chords of flamenco cadence, Substitute chords, Secondary dominants, Modulations, Falsetas created in the harmonic sequences described above, Summary

 PART TWO: THE FLAMENCO A 'Por medio' (The degrees of flamenco A mode and their harmonization, Extension of the chords of the first two degrees of the mode, Flamenco cadence, Chord of A7(b9); sequences II - I; superimposition of the chords of the first two degrees, Main sequences in the chords of the flamenco cadence, Substitute chords, Secondary dominants, Modulations E - A - D - G - B flat - D tuning, Summary) 

APPENDIX (Flamenco E mode, Flamenco A mode) 

This book is aimed at all musicians who want to learn about flamenco harmony through the flamenco instrument par excellence, the guitar.

This book analyses numerous falsetas (variations) from several eras, comprising a wide range of ‘palos’ - granaína, taranta, minera, rondeña and more - from the most emblematic guitarists in the history of flamenco. It is not only a vital tool for understanding and transcribing the music of the great maestros of the genre but also provides clear, comprehensible explanations of flamenco composition.

Countless classical composers have explored flamenco guitar harmony since the nineteenth century and incorporated some of its twists into their own music, including Glinka, Rimsky-Korsakov, Ravel, Debussy, Albéniz, Turina, Falla and many more.

 Example

This book is aimed at all musicians who want to learn about flamenco harmony through the flamenco instrument par excellence, the guitar.

This book analyses numerous falsetas (variations) from several eras, comprising a wide range of ‘palos’ - granaína, taranta, minera, rondeña and more - from the most emblematic guitarists in the history of flamenco. It is not only a vital tool for understanding and transcribing the music of the great maestros of the genre but also provides clear, comprehensible explanations of flamenco composition.

Countless classical composers have explored flamenco guitar harmony since the nineteenth century and incorporated some of its twists into their own music, including Glinka, Rimsky-Korsakov, Ravel, Debussy, Albéniz, Turina, Falla and many more.