The Andalusian cadence and Phrygian – free course

Four chords stepping down like a stone staircase: Am – G – F – E. This is the Andalusian cadence, at the heart of flamenco, but also of pop songs, Baroque music (the descending chaconne bass) and film scores. It ends on an E major chord, which sounds both like an ending and like an open door.

Two ways of hearing the same cadence

In A minor: i – VII – VI – V. The final E major is the dominant (with G♯, the leading note of harmonic minor), which pushes back to Am.
In E Phrygian: iv – III – II – I. E is heard as a tonic, and the F above it (a minor second) gives that typical Spanish colour.

Flamenco plays on this ambiguity. Over the E chord you use Phrygian dominant (or "Spanish Phrygian"): E F G♯ A B C D. It is the 5th mode of A harmonic minor. The augmented second F–G♯ is the Eastern-sounding flavour everyone recognises.

A melody over the cadence

M:4/4
L:1/8
Q:1/4=88
K:Am
%%staves {RH LH}
V:RH clef=treble
V:LH clef=bass
[V:RH] "Am" c2 B A e4 | "G" d2 c B d4 | "F" c2 B A c2 B A | "E" ^G2 F E E4 |]
[V:LH] [A,,E,]8 | [G,,D,]8 | [F,,C,]8 | [E,,B,,^G,]8 |]

Every bar starts on a chord tone (C over Am, D over G, C over F, G♯ over E). In the last bar, G♯ and F natural side by side make the augmented second audible.

"Flamenco" gestures

The ornamental triplet around a note: F-E-D-E, quick turns imitating the voice of the cantaor (singer).
The F/E rub: sound F over the E chord, then resolve to E. This is the "Phrygian half cadence".
Repeated chords in the left hand, rhythmic and accented, like a guitar rasgueado.
Dramatic silences: a passionate phrase, then a sudden stop.

M:4/4
L:1/8
Q:1/4=80
K:Am
"E" (3FED E2 (3^GFE F2 | "E" E8 |]

Exercise: singing down the staircase

Start the Andalusian track in A minor.

Bass only (1 round). Left hand: A, G, F, E in the low octave, one note per bar. Feel the descent.
Target notes (2 rounds). Right hand: one long note per chord, each time a chord tone. Try the line C – B – A – G♯ (it descends with the bass), then E – D – C – B.
Ornament (3 rounds). Keep those target notes but approach them with a triplet or a turn.
Let go (4 rounds). A natural minor over the first three chords, then E Phrygian dominant over E. Let the F linger against the E before resolving.
Contrast. Alternate one very soft, bare round with an intense one, higher and more rhythmic.

Common mistake: forgetting the G♯ on the E chord. Without it, the chord becomes E minor and the Spanish tension vanishes. Conversely, don't use G♯ over the G major chord: it would clash with the root.

Going further: the same cadence exists in every minor key. In D minor: Dm – C – B♭ – A. Try the Andalusian track in D minor.