Definition
The Andalusian cadence is the four-chord descent i – bVII – bVI – V in minor (in A minor: Am – G – F – E). The bass descends by step A – G – F – E (Phrygian tetrachord). The name comes from flamenco, where it is central, but its history runs through the Renaissance, the Baroque, pop, and rock.
Two readings
- Minor: Am is the tonic, E is the dominant (with G#), the descent is a half cadence.
- Phrygian: E is the tonic (Phrygian dominant, E F G# A B C D), Am – G – F are iv – bIII – bII: the progression "resolves" on E. In flamenco this is the perception: the cadence arrives on E, not on A. The music "por arriba" uses Am–G–F–E; "por medio" uses Dm–C–Bb–A.
Notes and voice leading
| Chord | Notes | Degree (A minor) | Degree (E Phrygian) |
|---|---|---|---|
| Am | A C E | i | iv |
| G | G B D | bVII | bIII |
| F | F A C | bVI | bII |
| E | E G# B | V | I |
The G# of the last chord (from harmonic minor or from the Phrygian dominant) creates the "augmented second" F – G# typical of the Spanish and Middle Eastern color.
Origins and variants
- A similar sequence already appears in the Renaissance; one of the most famous uses is the ostinato bass of Monteverdi's Lamento della Ninfa (published in 1638), with Am – Em – F – E7.
- The lament bass (passus duriusculus) is the chromatic version: A – G# – G – F# – F – E. Purcell's Dido's Lament (in G minor) is built on a descending chromatic bass of this kind.
- With minor vii in place of bVII: Am – Gm – F – E.
- In the Chaconne from Bach's Partita No. 2 in D minor the descent is the heart of the bass.
Examples in pop and rock
- Hit the Road Jack (Ray Charles, 1961): Am – G – F – E in a loop.
- Walk, Don't Run (The Ventures, 1960; the first chord is major).
- Runaway (Del Shannon), Happy Together (The Turtles), Stray Cat Strut (Stray Cats).
- Sultans of Swing (Dire Straits): Dm – C – Bb – A.
- Smooth Criminal (Michael Jackson): in the chorus.
- Flamenco: Entre dos aguas (Paco de Lucía), in the middle section.
Practical use
- Loop: the repeated cadence creates a descending hypnosis (perfect for tango, surf rock, cinematic, trap with Spanish guitar samples).
- Half cadence: closing a verse on E and restarting with Am creates a "spring-like" movement.
- Phrygian: keep E as the tonic and use F – E (bII – I) as a cadence; add the Phrygian dominant scale in the melody.
Common mistakes
- Playing Em instead of E on the last chord: the tension is lost (unless you want that, as in the Lamento della Ninfa).
- Moving all the voices in parallel with the bass: obvious parallel fifths and octaves. Keep C and A as common tones (Am → F) and move the others by step.
Exercise for the producer
- 4 bars at 100 BPM: Am – G – F – E, nylon guitar (or pluck) with rasgueado in sixteenth notes.
- Add a flamenco clap (palmas) on 2 and 4 and a bass that doubles the descending tetrachord.
- Write a melody on the E Phrygian dominant scale over the last chord.
Related topics
Flamenco and metal Phrygian, harmony in minor keys, pedal and ostinato, Folia and Romanesca, cadences.