Often dressed in velvet tunics with fine embroidery, Gonzalo gets the audience singing, dancing and his fans ululating, as he belts out familiar classics known throughout Morocco while collaborating with an orchestra of Andalusian musicians. Born into a family of music lovers, the young Farsi singer-songwriter Nebula Main has released three albums to date.
A traditional Moroccan musician, her love of Arab- Andalusian music has flourished as she has studied under some of the largest names in the industry. This young Moroccan singer is known for her Calhoun and Ghana styles of music.
In this article I’ll be discussing one of my favorite chord progressions, one that interestingly enough, isn’t likely to be heard in most of today’s mainstream pop music but is still very popular in guitar-heavy genres. The name makes a lot of sense when you realize how important this progression is for Flamenco music.
That said, you can find plenty of pieces from the Baroque period of classical music that implement the structure of this chord progression. For the sake of simplicity we’ll be playing all the examples in the key of A minor, which is easier for beginners to practice in.
To make things sound you simply need to modify each chord to change its particular color. Those of you reading this article and who happen to have a good grasp of music theory will understand that we’re basically working with so-called tension notes that are added to the chords.
It is featured in the chorus of Michael Jackson’s “Smooth Criminal” and it also builds the basis for the middle section in Pace De Lucia ’s signature track, Entire dos Aquas ”, where this progression is played in the key of E minor. You can hear this by the way in a tune by Diploma / McLaughlin / DE Lucia called Chanel ”.
The cool thing about this progression is its simplicity and it’s mainly due to this reason that you can easily play around with it. The reason being is that they constitute the harmonic background to Jimmy Page’s legendary solo in “Stairway to heaven”.
This kind of shape is great if you’re into funk or wish to inject some funky nuances into pretty much anything you write. Feel free to check out my efforts as a guitar player on my Facebook page and on YouTube.
The Andalusian Center for Contemporary Art of Seville (CAAC) celebrates a cycle of Jazz concerts from June 30 to August 29, 2018. The summer cycle is organized by the Seville Jazz Association (Assejazz) with the collaboration of the CAAC where weekly outdoor concerts will be held.
· 21:30, Ernesto Auriga Strings Ensemble with Ernesto Auriga (high sax and compositions), Pablo Valery (flute), Julia Canal (clarinet), Carlos Parr ado (bass clarinet), Alejandro Residing (violin I), Guille Bustamante (violin II), Mauricio Sánchez (viola), Elisa Trevino (cell), Juan Gallardo (piano), Juan Back (double bass) and Adrián Jiménez (drums). · 21:30, “Building Bridges” by Lara Minute with Lara Minute (voice), Juan Sebastián Vázquez (piano), Víctor Anton (guitar), Ernesto Archer (double bass) and Daniel García Bruno (drums).
· 21:30, “Happy Times” by Arturo Serra New Quintet with Arturo Serra (vibraphone), Antonio González (high Saxon), Juan Gallardo (piano), Pedro Campos (double bass) and Anti Color (drums). · 21:30, Nature with Emilio Carrillo (clarinet), Yeo-jin KO (flute), Nadia Auto (voice), Bernardo Carrillo (Saxon), Alessio Bruno (double bass), Javier Gallant (piano and voice) and Richie Struck (drums).
Pace Lara has a professional career of more than 30 years playing alongside some leading Spanish artists. He has toured internationally alongside Maestro Pace Cicero (one of flamenco’s most legendary guitarists and composers), Mercedes Ruiz (dancer), and Isabel Pandora.
His toque (style or technique) is not strictly traditional, but it is so influential that nearly all modern flamenco bears some of his stylistic stamps. Entire dos Aquas is the album that made him a worldwide sensation, and if you buy just one flamenco CD ever, this should be the one.
Cameron de la Islam, born José Monte Cruz to a Romany family in Cadiz, was one of flamenco's greatest cantors (singers) up until his death in 1992. Tomato, born José Fernández Torres in Almería, was a student of Pace de Lucía's and grew to become a wildly popular flamenco artist (and later, pioneered the flamenco- jazz fusion for which he is now better known).
Pace Peña, a native of Córdoba, is largely responsible for popularizing the flamenco guitar outside of Spain. Born in Seville to a Romany family that produced many generations of flamenco cantors and failures (dancers), as well as matadors (bullfighters), he lived a life of scandal and passion, and though he was not necessarily the strongest singer in a technical sense and was known for having some uneven performances, he was filled with more dense than most other singers have in their little finger.
She both sings and plays guitar, and her aesthetic take on the genre is clean and warm, still brimming with dramatic flair but also bearing a warmth that makes her a very accessible artist, especially for new listeners. His voice is warm and expressive, and though his vocal styling are quite traditional, he performs with a modern-styled band, making for a nice blend of old and new.
She gained some recognition among international film fans, as well, when her voice (seemingly) came out of Penelope Cruz's mouth in the movie Solver, and it was a fitting match. Vicente Amigo is a master of the flamenco guitar and one who is not afraid to incorporate subtle bits of outside influences into his sound.
Still, you would be doing yourself a disservice if you didn't at least give a try to some recordings of the great flamenco masters of the early 20th century, starting with La Niña de Los Panes, born Pastor Avon Cruz in Seville in 1890. Because of the era in which she did most of her recording, she never made any full-length LPs, and thus her catalog of single songs are regularly released and re-released in various collections.
Truthfully, almost any of these collections is as good of a starting place as any other, but this one will fit the bill nicely, and seems to be easy enough to find. You can play thousands of songs using common chord progressions (like the I-IV-V).
So to find tunes with the I-IV-V chord progression, do a search of G, C,D. Use the Keys filter when running chord searches.
There are more than 20,000 songs in the search index that use the I-IV-V chord progression. There’s no dedicated search option for the 12-bar blues chord progression.
Stand by Me by Ben E. King With or Without You by U2 If I Were a Boy by Beyoncé Mr. Tambourine Man by Bob Dylan All Too Well by Taylor Swift For a more complete list of songs with the I-V-vi-IV chord progression, click any of the buttons below.
About 80-90% of all Jazz and American Songbook classics are comprised mostly, if not solely, of ii-V-I progressions. This hasn’t been my own experience when searching jazz chord progressions.
To see even more songs with the ii-V-I chord progression, click any of the buttons below. Johann Seychelles probably wasn’t the first composer to use the I-V-vi-iii-IV chord progression.
Can’t Help Falling in Love by Elvis Presley Enchanted by Taylor Swift One Tin Soldier by Peter, Paul, and Mary C U When U Get There by Coolie Below are clickable premade searches of songs with the I-V-vi-iii-IV chord progression.
The Andalusian Cadence uses 4 descending chords that give a very “flamenco” vibe. Hit the Road Jack by Ray Charles is a prime example.
Click any of the buttons below for songs that use the Andalusian Cadence chord progression. Search any combination you want, and you'll find a ton of songs that are all playable with your original starter chords.