Harmony bimodal

03 Jul Harmony bimodal

Malaguena_thumb1This system is the one used in the fandangos and all its derivatives. It is to combine the Phrygian mode with other modes that may resemble the major and minor tonal.

 

There is a group of songs that harmonize with combining the modal tonal.The guitar accompanied singing flourishes based on matrices and choruses in Andalusian mode, modal system, and singing tone is interpreted.

 

 

The bimodal songs are:

 

 

– FANDANGOS.

 

– MALAGUEÑAS.

 

– Granaínas.

 

– Levante.

 

– RONDEÑA.

 

– Tangos and bulerías.

Asher Barrett
jasherbarrett@gmail.com


2019 PERFORMANCES

                 

Metamorphic Transformation

Observing metamorphic transformations in nature allows us to extrapolate that method to humans and the arts. That is to say, the foundational substance becomes a supporting substance retained in the new identity. These essential elements are absorbed, now invisible to the observer, while the transformed form creates a stunning awareness of the new.

Likewise, our compositions make use of a similar pattern of creative mutation, if you will. We begin with folk songs that poet Federico Garcia Lorca chose, rescued from oblivion, transcribed for the piano and performed in various venues. Following a trajectory of revealing hidden elements, we submit them to an unexpected metamorphic process. The melodic essences of the old songs are those that give musical meaning to different poems that Lorca wrote.

Additionally, in his short life, he created diverse artistic works, including poetry, music, and literature. He also created formidable works for the theater, while also embracing other mediums such as painting. His contemporaries and artistic collaborators included Joan Miro and Salvador Dali.

«Lorca in the Keys of Hands and Voice,” a concert conceived and presented by Adam Kent and Fernando Barros, is a musical innovation inspired by Lorca’s example. Lorca collected melodies from the Spanish folklore repertoire and transcribed them for the piano using two different concepts: 1) adapting the old melodies to various of his poem, as for example, ANDA JALEO to the poem «Preciosa y el Aire”; and 2) singing the old songs using the expressive, emotive characteristics inherent in flamenco music.

Follow us: studyflamenco.com & queeselflamenco.com

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Email: barroslirola@gmail.com