For anyone already familiar with Minor key definitions from school, for example A minor key, in order to describe the Roman numerals and how they change (iv vs IV for example), the professors often use natural minor (Aeolian mode) Harmonic minor (raise G to G#) and melodic minor (raise both F and G) the basis. A qualifier is often added that melodic minor will ascend and natural descend, etc. But these rules are to simply allow contextual applications of Roman numerals (for example iv or D minor will use F natural and IV will use F#). The practical cases might most often occur as IV-V-i, requiring the raised F# then G# in sequence, and after resolving to i (Am) the melody reverts to naturals. Voice leading often explains why composers might choose F# vs F in context, but he G# is almost always altered in order for a basic V-i cadence, which simply can’t function with natural notes. The key point I want to make is that many students already know the above from first year schooling about music and keys in general, yet at no point would a professor imply a synthetic “mother scale” that uses F, F#, G, G# and the rest naturals. Instead we understand the idea of melodic accidentals (note options) which affect the harmony. Flamenco is absolutely no different than this situation, in regards to por Arriba, etc. The only difference is what we might think of as “Roman numerals” and how they function. If the basic minor key is not well understood, it would be best that this is first well grounded before “phrygian key” is explored. IMO. Otherwise, just play the correct note at the correct time and develop one’s own intuition. Cheers.
Dear Samuel, as you are aware I am a rock and blues guitarist, after losing my fret hand forefinger you took the time to show me how to use my pick hand more effectively using Flamenco patterns. This has enabled me to play and perform on stage once again. This simple explanation of the combining of the Phrygian scales and ( excuse my phraseology) the call and response is like having the curtains pulled back and the light flooding in to a whole new set of musical tools. Always in your debt Phil T
Dear Phil, it's so good to hear from you and thank you for leaving such a nice comment! It's moments like this that make all the work I put into my teaching worth while! I'm so pleased this video (and our time together in the past) has been useful and I'm delighted to hear that you are performing again, this is all music to my ears! I hope you are both well and hopefully I'll to be in a position to come and see you soon and perhaps even have the chance to hear you perform live. Very best wishes and thank you again for leaving such a nice comment, I'm so pleased that you enjoyed the video! Very best wishes, Samuel
excellent stuff samuel, thanks again. grow a beard, coolness increases by a factor of 50. sincerely, david - high marshall - flamenco beardsman's guild. :) will you be doing more scale orientated tutorials in the future?
Great video and I’ve subbed! On another note, I’m looking at purchasing an amp. Just wondering if you would still advocate for the AER slope over the compact classic. I do play a bit of steel string but mainly classical. Any advice would be greatly appreciated!
Great to hear from you and thank you for making the time to leave a comment. Really pleased that you like the video. More are on there way 😀👍. Regarding AER, yes I'm a really big fan of the Compact Slope model. The slope does a great job at projecting the sound up + it's lighter and easier to carry than the classic AER model. Alongside this, like all AER products, it's 10/10 in terms of sound and ease of use. In short, in my view the Compact Slope has all the positive attributes of the classic AER amp but with some great extras that make it even better. Naturally, this is all just my opinion, but having used a lot of amps and PAs over the years, I'd say overall the AER Compact Slope is the best all rounded I've yet come across. I hope that's helpful and let me know how you get on 😀👍
For anyone already familiar with Minor key definitions from school, for example A minor key, in order to describe the Roman numerals and how they change (iv vs IV for example), the professors often use natural minor (Aeolian mode) Harmonic minor (raise G to G#) and melodic minor (raise both F and G) the basis. A qualifier is often added that melodic minor will ascend and natural descend, etc. But these rules are to simply allow contextual applications of Roman numerals (for example iv or D minor will use F natural and IV will use F#). The practical cases might most often occur as IV-V-i, requiring the raised F# then G# in sequence, and after resolving to i (Am) the melody reverts to naturals. Voice leading often explains why composers might choose F# vs F in context, but he G# is almost always altered in order for a basic V-i cadence, which simply can’t function with natural notes.
The key point I want to make is that many students already know the above from first year schooling about music and keys in general, yet at no point would a professor imply a synthetic “mother scale” that uses F, F#, G, G# and the rest naturals. Instead we understand the idea of melodic accidentals (note options) which affect the harmony. Flamenco is absolutely no different than this situation, in regards to por Arriba, etc. The only difference is what we might think of as “Roman numerals” and how they function. If the basic minor key is not well understood, it would be best that this is first well grounded before “phrygian key” is explored. IMO. Otherwise, just play the correct note at the correct time and develop one’s own intuition. Cheers.
Hi, Samuel - Thanks for making the video. Very interesting!
Awesome explanation of Phrygian scale, thanks!
What a lovely class! You’re an excellent teacher
Thank you so much! I'm really pleased that you found this helpful.
Dear Samuel, as you are aware I am a rock and blues guitarist, after losing my fret hand forefinger you took the time to show me how to use my pick hand more effectively using Flamenco patterns. This has enabled me to play and perform on stage once again.
This simple explanation of the combining of the Phrygian scales and ( excuse my phraseology) the call and response is like having the curtains pulled back and the light flooding in to a whole new set of musical tools.
Always in your debt Phil T
Dear Phil, it's so good to hear from you and thank you for leaving such a nice comment! It's moments like this that make all the work I put into my teaching worth while! I'm so pleased this video (and our time together in the past) has been useful and I'm delighted to hear that you are performing again, this is all music to my ears! I hope you are both well and hopefully I'll to be in a position to come and see you soon and perhaps even have the chance to hear you perform live. Very best wishes and thank you again for leaving such a nice comment, I'm so pleased that you enjoyed the video! Very best wishes, Samuel
Really great material presented superbly as usual. Many thanks.
You're most welcome Nicholas. Thank you for making time to leave a comment 👍
Clear and articulate explanation. Thank you !
Thank you, you are most welcome 🙂
Super!! Thank you friend
My pleasure, I'm so pleased that you enjoyed the tutorial and found it helpful. More videos coming soon!
I wish you the best, brother. Good luck and keep up the hard work. :)
Thank you for the good luck message. More videos coming soon. :)
Wonderful lesson. Thank you.
My pleasure. More coming soon 🙂
Have now memorised the open PHRYGIAN SCALE ---Took a while --- so what chords can you play over this E Phrygian open scale ??
excellent stuff samuel, thanks again. grow a beard, coolness increases by a factor of 50. sincerely, david - high marshall - flamenco beardsman's guild. :) will you be doing more scale orientated tutorials in the future?
Thank you. I may well do more scale related videos in the future if people are interested. Any particular requests?
Great video and I’ve subbed! On another note, I’m looking at purchasing an amp. Just wondering if you would still advocate for the AER slope over the compact classic. I do play a bit of steel string but mainly classical. Any advice would be greatly appreciated!
Great to hear from you and thank you for making the time to leave a comment. Really pleased that you like the video. More are on there way 😀👍. Regarding AER, yes I'm a really big fan of the Compact Slope model. The slope does a great job at projecting the sound up + it's lighter and easier to carry than the classic AER model. Alongside this, like all AER products, it's 10/10 in terms of sound and ease of use. In short, in my view the Compact Slope has all the positive attributes of the classic AER amp but with some great extras that make it even better. Naturally, this is all just my opinion, but having used a lot of amps and PAs over the years, I'd say overall the AER Compact Slope is the best all rounded I've yet come across. I hope that's helpful and let me know how you get on 😀👍
NO FRET MARKERS ? --How about TABS to illustrate those G natural and G sharp additions to the scale--on bottom and top strings ?
Now you tell me I have to learn another type of PHRYGIAN SCALE ?? --this is rather frightening !