Скачать с ютуб From 4 to 16 to 26 Chords in Flamenco Harmony with Ruben Diaz в хорошем качестве

From 4 to 16 to 26 Chords in Flamenco Harmony with Ruben Diaz

Flamenco Harmony with Maestro Ruben Diaz Ruben's Original Video:    • *From 4 to 16 chords harmony in moder...   PRE PACO The Andalusian Cadence (4 chords) i bVII bVI V7(b9) _____________________________ POST PACO Substitute Chords (4 chords) bIII∆7 v iv iv/b2 note: iv/b2 = bVI/b7 Secondary Dominant Chords (4 chords) V7/bVII V7/bVI V7/v V7/iv Substitute Dominant Chords aka Tritone Substitutions for the Secondary Dominant Chords (4 chords) [V7alt/bVII] / b5 [V7alt/bVI] / b5 [V7alt/iv] / b5 [V7alt/v] / b5 (16 chords total now) _____________________________ Key of Am The Andalusian Cadence i = Am bVII = G, G7 bVI = F, F7, Fmaj7, Fmaj7(#11) V7(b9) = E7(b9) Substitutes bIII∆7 = Cmaj7 v = Em, Em7 iv = Dm, Dm7, Dm9 iv/b2 = F7/Eb (bVI/b7) Secondary Dominants V7/bVII = D7 V7/bVI = C7 V7/v = B7 V7/iv = A7 Tritone Substitution of Secondary Dominants [V7/bVII] / b5 = Ab7alt [V7/bVI] / b5 = Gb7alt [V7/v] / b5 = F7alt [V7/iv] / b5 = Eb7alt _____________________________ Roman Numerals = chords (scale degree) Uppercase = Major Lowercase = Minor Numerical Numbers = notes (scale degree) 7 = Dominant 7 7(b9) = Dominant 7 with the b9 alt = Altered Dominant º7 = Diminished 7 ∆7 = Major 7 _____________________________ bIII∆7 is a substitute for i v is a substitute for bVII iv is a substitute for bVI iv/b2 is the third inversion of bVI _____________________________ Some Examples of Paco's Progressions in Am = 15:28 The Andalusian Cadence with Secondary Dominants ||: Am | D7 G | C7 F | E7(b9) :|| The Andalusian Cadence with (tritone) Substitute Dominants ||: Am | Ab7alt G | Gb7alt F | E7(b9) :|| Substitute Progression for The Andalusian Cadence ||: Cmaj7 | Em | Dm F7/Eb | E7(b9) :|| The Andalusian Cadence with Substitutes ||: Am Cmaj7 | G Em7 | F Dm F7/Eb | E7(b9) :|| ||: Cmaj7 Am | Em G | Dm F | E7(b9) :|| Substitute Progression with Secondary Dominants ||: Cmaj7 | B7 Em | A7 Dm F7/Eb | E7(b9) :|| Substitute Progression with (tritone) Substitute Dominants ||: Cmaj7 | F7alt Em | Eb7alt Dm F7/Eb | E7(b9) :|| _____________________________ 8:12 I want to immediately add 3 more chords, so POST PIPKIN ;) V7alt/bIII∆7 = G7alt (I like the b9 or the #5 or both!) [V7/bIII∆7] / b5 = Db7alt [V7/i] / b5 = Bb7alt I Also I want to add the Secondary Diminished Chords (viiº7 / ____), so 6 more chords.... viiº7/i = G#º7 viiº7/bVII = F#º7 viiº7/bVI = Eº7 viiº7/bIII∆7 = Bº7 viiº7/v = D#º7 viiº7/iv = C#º7 Finally I want to add the V7alt/V7(b9) = B7(#9#5) = tritone substitution of the bVI (26 Chords Total) = 15:21 _____________________________ 21:15 Some Example "POST PIPKIN" Progressions in Am The Andalusian Cadence with (tritone) Substitute Dominant Chords (including PIPKIN's [V/i] / b5) ||: Bb7alt Am | Ab7alt G | Gb7alt F | E7(b9) :|| Substitute Progression with Secondary Dominants (including PIPKIN's V / bIII∆7) ||: G7 Cmaj7 | B7 Em | A7 Dm F7/Eb | E7(b9) :|| Substitute Progression with (tritone) Substitute Dominants (including PIPKIN's V/b5 / bIII∆7) ||: Db7alt Cmaj7 | F7alt Em | Eb7alt Dm F7/Eb | E7(b9) :|| The Andalusian Cadence with Secondary Diminished Chords ||: G#º7 Am | F#º7 G | Eº7 F | E7(b9) :|| Substitute Progression with Secondary Diminished Chords ||: Bº7 Cmaj7 | D#º7 Em | C#º7 Dm F7/Eb | E7(b9) :|| Incorporating the V7alt/V7(b9) Chord and the above concepts ||: Am | F#º7 G | F B7(#9#5) | E7(b9) :|| ||: Cmaj7 Am | D7 G | F B7(#9#5) | E7(b9) :|| ||: G7alt Cmaj7 | D#º7 Em | Eb7alt Dm | B7(#9#5) E7(b9) :|| _____________________________ Below I have recorded a video of each example.    • From 4 to 16 to 26 Chords in Flamenco...   _____________________________ Ruben Diaz Flamenco Guitar REPLY "I am amazed how well you understand things dear Joel!" Ruben's Original Video:    • *From 4 to 16 chords harmony in moder...