Andalusian cadence


The Andalusian cadence is a term adopted from flamenco music for a chord progression comprising four chords descending stepwise—a vi–V–IV–III progression with respect to the major mode or i–VII–VI–V progression with respect to the minor mode. It is otherwise known as the minor descending tetrachord. Traceable back to the Renaissance, its effective sonorities made it one of the most popular progressions in classical music.
Despite the name it is not a true cadence ; it is most often used as an ostinato. It is heard in rock songs such as "Runaway" by Del Shannon.

Structure

The Andalusian cadence may be notated vi – V – IV – III with respect to a major key; i – VII – VI – V with respect to a natural or melodic minor key, the two being identical in descent; or i – VII – VI – V with respect to a harmonic minor key, in which the reversal of the raising of the subtonic to a leading tone must be notated. In the third degree of the final chord, the subtonic is sharpened by a semitone into a leading note in order to lead back into the minor chord that begins the sequence.

Origins

A popular melodic pattern of Ancient Greece offers a possible starting point for the Andalusian cadence. Called the Dorian tetrachord, the sequence resembles the bass line of the chord progression developed centuries later. Some theorists consider that the same structure may have occurred earlier in Judah. A sequence more or less close to the Greek tetrachord structure might have been known to the Moors in Southern Spain and spread from there through Western Europe. The French troubadours were influenced by the Spanish music.
The Andalusian cadence known today, using triads, may not have occurred earlier than the Renaissance, though the use of parallel thirds or sixths was evident as early as the 13th century. One of the earliest uses of this chord sequence is seen in Claudio Monteverdi's choral work, Lamento della Ninfa. The piece begins in A minor and clearly uses the cadence pattern as a basso ostinato - resulting in Amin - Emin - Fmaj - E7. This work was first published in the Eighth Book of Madrigals.
The progression resembles the first four measures of the 15th century Passamezzo antico; i – ♭VII – i – V. The use of the ♭VI chord may suggest a more recent origin than the Passamezzo antico since the cadences i – ♭VII and ♭VII – i were popular in the late Middle Ages and early Renaissance, ' while ♭VII – ♭VI arose as a result of advancement in music theory. However, the absence of the leading tone from the ♭VII chord suggests that the progression originated before the tonal system in the modal approach of the time of Palestrina, where the tonic must be approached from chord V whereas typical Baroque style would have avoided the flat VII''' and introduced dominant chords.

Analysis

Melody

A minor seventh would be added to the dominant "V" chord to increase tension before resolution. The roots of the chords belong to a modern phrygian tetrachord, that is to be found as the upper tetrachord of a natural minor scale.
A remarkable fact about tetrachords was noticed since the Ancient times and rediscovered in early Renaissance: when a tetrachord features a semitone between two of its tones, it is the semitone that will determine the melodic tendency of the given tetrachord or mode. If the semitone falls between the highest two steps, the melody tends to be ascending ; a semitone between the lowest tones in the tetrachord involves a melody "inclined" to descend. This said, the Phrygian tetrachord, borrowed from traditional music of Eastern Europe and Anatolia, is to be found also in the Andalusian cadence and sets the mentioned character.

Modal vs. tonal

A rigorous analysis should note that many chord progressions are likely to date back from an epoch prior to early Baroque. In such cases, explanations offered by tonality "neglect" the history and evolution of the chord progression in question. This is because harmonic analyses in tonal style use only two scales when explaining origins of chord moves. In exchange, the luxuriant modal system offers various plausible origins and explanations for every chord move. However, most classical and popular music which makes use of the given chord progression might treat it itself in a tonal manner.
A number of musicians and theorists consider the Andalusian cadence as a chord progression built upon the Phrygian mode. Since tonality took the first chord in the progression for a tonic, the Phrygian notation of the cadence writes as following: iv – III – II – I. Though tonal functions have little in common with the Phrygian mode, the four chords could be roughly equalized. Thus, the "iv" corresponds to a subdominant chord, while "III" is the mediant and "I" is the tonic. The "II" chord has a dominant function, and may be thought of as a tritone substitution of "V", i.e., the Neapolitan sixth chord.
When the VI chord, which may be added between III and II and cadenced upon, is the most characteristic contrasting tonal area, similar by analogy to the relative major of a minor key.
Another modification gives the progression a more characteristically modal sound by simply replacing the VII with a vii chord. This alters the progression slightly; Amin – Gmin – Fmaj – E7. It can be found in “Chanela”, by DiMeola / McLaughlin / De Lucia. Although this example is in the key of B minor, the applied principle is the same.

Harmonic peculiarities

The tonal system sets three main functions for the diatonic tertian chords: tonic, dominant and subdominant. Any sequence through different functions is allowed, except for D→SD. A tonal scale's degrees are as following: "I" and "VI" are tonic chords, "V" and "VII" are dominants, "IV" and "II" are subdominant chords. All sequences between same-function chords, from the weaker member to the stronger, are forbidden. When using the natural minor, dominant chords exchange their leading tone for a subtonic; as a result, their dominant quality is strongly undermined.
A tonal insight on the Andalusian cadence leads to considering the "VII" a local exception: the subtonic it uses for a root should be, however, re-replaced by the leading tone before returning to "i". A "VII" would leave the dominant category and start acting to the contrary. That is, a "VII" chord would now prefer moving to a subdominant rather than to a tonic chord. Yet, the Andalusian cadence brings about a limit condition for tonal harmony, with a VII – VI chord move.
The Andalusian is an authentic cadence, because a dominant chord comes just before the tonic "i".

Dominant chord substituted

A most unusual way of altering the cadence can be heard in Pink Floyd's "Comfortably Numb", where the "V" chord is skipped for a "iv". It is as follows: i – ♭VII – ♭VI – iv. The resulting progression is on the edge between tonal and modal, where the subtonic doesn't change back into a leading-tone, but the obtained cadence is suitable for tonality.

Denominations in flamenco music

Basic keys

The standard tuning in guitars causes most flamenco music to be played only in a few keys. Of those, the most popular are A minor and D minor. They are as follows:
Using a capotasto or scordature, other keys can be obtained, mainly derived from the two basic keys. Flamenco guitarist Ramon Montoya and singer Antonio Chacón were among the first to use the new keys, which have distinctive names:
Term used in flamencoTonal keyModal keyChord progressionConstruction
por granaínaE minorB PhrygianEm – D – C – Bpor medio, capo on 2nd fret
por LevanteB minorF PhrygianBm – A – G – Fpor arriba, capo on 2nd fret
por mineraC minorG PhrygianCm – B – A – Gpor arriba, capo on 4th fret
por rondeñaF minorC PhrygianFm – E – D – Cscordature

Music examples featuring Andalusian cadences

Popular music

Songs of the early 1960s, such as the Ventures' 1960 hit "Walk, Don't Run", used the bass structure from the iconic Andalusian cadence for a surf rock hit; however, the first chord is A Major not A minor as is a common misconception about the song. Other notable examples from popular music are "Stray Cat Strut", "All Along the Watchtower", "Like a Hurricane" "Happy Together and "California Dreamin".
The Andalusian cadence is featured in the chorus of Michael Jackson's "Smooth Criminal," and it also builds the basis for the middle section in Paco de Lucía's signature track, “Entre dos Aguas,” where this progression is played in the key of E minor.
In addition, the I-♭VII-♭VI-V chord progression is the primary structure of "Hit the Road Jack."

Altered progressions

Reordered or repeated chords

The integration of the traditional Andalusian cadence and Renaissance-style practices of musical composition and song are evident in modern musical genres such as rock and pop. Flamenco music, a style of music and dance that was popularized in the Andalusian regions of Spain, has also been incorporated into modern pop and rock music. Specific examples include the usage of the cadence in "La leyenda del tiempo" by Camarón de la Isla. Other recent uses of the cadence are apparent in flamenco inspired rock songs such as "Ya no me asomo de la reja", 'La que vive en la Carrera", and the bassline of "Negras las intenciones".

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