La Armonía en el Flamenco | Paola Hermosín


Good Afternoon and Welcome to a video you asked me a lot about the Harmony in Flamenco Music Well, I wanted to start from the origins the origins come from Ancient Greece Greeks used descendent scales based in tetrachords set of 4 notes mixed together 4 in 4 and they got a scale they were descendent. This is very important because when it is descendent it generates a tension between half tones which makes this relation from leading tone to tonic which we also find in Flamenco music we’ll see it now the main modes were Doric, Phrygian, Lydian and Myxolide the Greek Doric is the origin of Flamenco why is it like this? well, between notes there are tones and half tones these are distances if tone is like this semitone is the half although as other theories say, it isn’t in the middle exactly, but ok more or less, to understand it from C to D there is always a tone D to E, tone but naturally we find half tones from E to F and from B to C without altering any note with flat or sharp so REMEMBER from E to F and from B to C there is a half tone what happens with Doric mode? It is built from E E, D, C, B, A, G, F, E Then, we find half tones at the same places as Flamenco scales why today we know it as Phrygian mode? well, it is a long story Music changed, evolved, and at the Middle Age we found Gregorian chant this was the evolution of the flat song with the intention of telling the Bible to the to Christian believers in the Middle Age, they took those Greek modes and they changed them starting from the names they called them Protus, Deuterus, Tritus and Tetrardus And we also had Plagal modes and Authentic Modes and a very important thing is that they changed descendent scales for ASCENDENT SCALES because they understood scales in a different way we have to consider that music in that period Greek music or Medieval music don’t seem in almost anything to the music we have now why? because music nowadays has vertical chords and before music was totally horizontal I mean, there were voices singing the same melody monodically if they sang a Kyrie which is a part of the mass which is sung I just made it up if someone else joins they’re gonna sing the same and they sang it following one of their scales they took Protus ok, so we sing inside Protus scale and they just sang with Protus notes Greeks did the same if they took Mixolidian, they only sang with Mixolidian notes that’s the purpose of scales, to organize the music and each one sounds different this horizontal line just a line going ahead Dorian Greek mode, they could play for example improvising horizontally over the Phrygian mode, which is actually the Doric Greek mode This evolved and at the end of Middle Age, they called these modes or scales which had changed from Doric etc. from Greeks to Protus, Deuterus… and they recalled them with Greek names but wrong I mean, now Doric mode is called Phrygian mode by the medievals and the rest, reorganized That’s why today we know Phrygian mode as a Flamenco mode or scale but this Phrygian mode isn’t really the origin but the Doric Greek one Because the Doric Greek mode was descendent when we play it ascendent, it’s not the same as playing it sounds pretty much flamenco why? if you put it descendent what happens? it isn’t D-E but F-E Remember: between F and E there was a half tone!! not between D and E but between F and E and between B and C that’s why before I played it in C major between B and C exists that tension that attraction music attracts, there are poles that attract like magnets in ascendent scale from E it doesn’t happen because there wasn’t a half tone at the end but if you put it upside down, descendent, it generates the needed tension to be able to relax there before there was the modality we moved in these scales and none of them had an attraction of leading tone-tonic that hard nor there weren’t grades as tonic, subdominant and dominant but that started to play for example, when we’re at C major we have tonic, subdominant and the dominant, with more tension than others if you let it like this, it isn’t conclusive it has to solve in tonic again to relax, to let music solved it’s like talking for example, if I say where are you going? this is not conclusive but if you answer to me: I’m going to the cinema you solved the phrase it’s like an arc with a point in the highest part with the most tension and down points are relaxed ones where are you going? I’m going to the cinema isn’t it? and inside of each semi phrase there is also a tension and distension where are you going? at the intonation of the phrase cause music is a language, it’s like talking so if we do it’s like saying where are you going? and you answer I’m going to the cinema it’s a very basic reason to explain how musical language works in tonality terms what happens today? well, that horizontal line was completed with chords I mean, more than one note over each note of the scale they formed vertical blocks of sound for example, over D they put D minor over C, C major over A, A minor over each note there is a chord but what happens? because Flamenco sounds very special as logic evolution of Greek Doric mode nowadays known as Phrygian mode, it should be: for example we take it in A, descending: A, G, F, E it should be minor but this doesn’t sound Flamenco because Flamenco put G # sharp to make the tonic major Although in the scale we don’t find any alteration which tells us G should be sharp so, how does it sound in Flamenco music? besides, they added other tensions which weren’t as Classical harmony but 7th, 9th… they weren’t added to chords before in that way and it’s still conclusive why? it’s curious, because from Classical music, it’s always seen from an ethnocentric point of view what’s ethnocentrism? it is when you try to analize the situation of others from your point of view just looking at your belly button I mean if you analize flamenco from classical point of view, you’ll never understand it it’s like trying to understand African irregular rhythms for example, or from Venezuela they contain 5 by 8 bars and you try to put them on shoes in a 3 by 4 it doesn’t fit in a 3 by 4, it is not its size because it is a 5 irregular rhythm because it comes from popular music which has been refined and made itself cultured cause it evolved a lot but we should try to understand it from their parameters so a lot of classical musicians understood it wrong they thought that E major was the dominant of A minor and we weren’t inside a mode Greek or medieval for them, we were at tonality in A minor for them, it should solve in Am but Flamenco never solves in Am excepting tonal palos (flamenco styles) but palos as soleá, seguiriya, bulerías… no, they don’t solve in Am this was studied by classical good musicians there are a lot of classical musicians that did they were successful in their studies and they talked about those characteristics from Flamenco music forming a unique system, as for example Turina, Falla, or García Matos among other authors as Felipe Pedrell and they have methods or books where they explain all Flamenco harmony Turina was one of the first who defended Andalusian scale didn’t work as a tonality No! it remained in E and there it relaxed this was Andalusian scale Flamenco was born from it from that popular music which goes evolving taking an own language thanks to gypsies who gave a unique touch to the music a very special way of playing it thank to Andalusian people too, who sang it in a very special way too, both mixed and to that mix with classical elements which already existed in that period in that period they did those cadences but Andalusian and Andalusian gypsies refined and adapted and did this understanding it as the tonic that’s the special thing of Flamenco music it combined on the one hand, modality which comes from Greeks on the other hand, tonality adding to each note of this horizontality verticality it has the tonality it majorized a minor chord but inside the mode E doesn’t work as the dominant we have to remember that always and it also has what Andalusian gypsies added with those tensions of 7th and 9th in Romanticism period with strumming techniques before, cultured guitar was the one picked also mixed with strumming guitar but in popular music people didn’t have access to the culture so they developed a lot the strumming technique and thumb techniques as Alzapúa which you can listen to in one of my videos playing a Soleá I let you the link in cards or in the description below well, the evolution of strumming techniques also added a unique characteristic to Flamenco and it also has the influence Jewish culture and all cultures that passed through Andalusia which is unique and besides, Arab influence too the one that came to Andalusia and stayed a lot of time of which we are reminiscent through scales as, for example, the Hispanic-Arabic which was mixed with the scale we had here as the “Phrygian” scale which was actually the Greek Doric scale it sounds like this (Hispanic-Arabic scale) it sounds pretty much Arabic So when Flamenco guitarists improvise, they use all these tools to contribute with all these influences that’s why when something doesn’t sound Flamenco it is because it doesn’t have or it isn’t capturing all the essence af all these influences you can capture and these Hispanic-Arabic scales come from Arabic scales as for example, the Hijaz scale also formed by tetrachords instead of doing A, G, F, E Andalusian cadence, they do A, G#, F, E and it gets that point much more Arabic so you can play both, combine them and we find it at a lot of Flamenco palos (styles) so Harmonic Flamenco System is a unique system because it isn’t either modal neither tonal but it combines the best of both with Arabic influences Jewish influences too the influence of chant and all these things cause Arabs use a lot 1/4 tones I mean, before we talked about tone half-tone but there is also a more little thing the 1/4 tone there is something in between, for example E, F, E between E and F there is a half tone but there’s something in between too it’s a 1/4 tone too E, F, E E (1/4tone) F there’s something between and we don’t have it for example in the guitar cause we have frets but in instruments as oud, for example Arabic oud, it doesn’t have frets or a violin, a cello… instruments which don’t have notes limited by frets in tones or half tones so why there are things which have cadences similar to Andalusian cadence but it doesn’t sound Flamenco? why? it’s the key for example, we can see it through a Beatles song Michelle the beginning of Michelle goes like playing “por medio” (in A chord positions) it goes in D minor Andalusian cadence what does it have although it have this cadence, it doesn’t sound Flamenco is it that the singer doesn’t sing in English? well, apart from he doesn’t sing in Spanish or with Andalusian accent, which is important too in Flamenco, here, A works as a dominant of D it isn’t going to stay there the song follows the song should follow and finish in A but Michelle finishes in D in D major it’s playing with major mode, minor mode… but it doesn’t use Phrygian mode in a Flamenco way Neither has characteristic melismas nor 1/4 tones in voices which Andalusian people or Andalusian gypsies do so hope you loved this video I tried to analize Flamenco as I see it I am a classical guitarist I have to learn a lot from Flamenco but I always try to understand it not from a classical ethnocentric point of view as I said before, but staying inside of the parameters that Flamenco has listening to it and understanding it not seeing it from outside from a far position or superior position because it shouldn’t be like this Sometimes in Flamenco people don’t name things cause they have an oral tradition you learn it from me to you, from you to me the tradition gets transmited through people it’s not something with written tradition as classical music my purpose isn’t naming everything or classifying everything, because we can’t classify everything but we try to understand the magic of Flamenco which makes it unique and being able to give importance to it through these things hope you love it you can comment, ask me for new videos about this topic, I can make another if you want about Flamenco palos (styles) about the rhythms, because this video went about the harmony trying to explain why something sounds Flamenco you can subscribe, like and share with friends if you liked it thank you so much for watching!

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100 thoughts on “La Armonía en el Flamenco | Paola Hermosín”

  1. pep toni brotons says:

    Genial. Lo estaba esperando. Gracias.

  2. Eduardo Antonio Della Vella says:

    Que excelente todo lo que transmitis!!!!!!! sos una genia!!!! para verlo y verlo y verlo y escucharte!!!! muchas gracias!!

  3. Celeb Caleb says:

    I don't know Spanish at all but I love hearing her. Idk I saw the intirw video without knowing Spanish

  4. Jonathan Moreno Moreno says:

    Me das miedo Pao, un miedo admirable, en fin,,,, que eres una máquina, en el flamenco, no sabía que se podía leer una partitura,,, Gracias

  5. The Manifold Curiosity says:

    Una explicación clara y encantadora, gracias! Realmente un vídeo de este tipo es tan agradable para alguien curioso sobre flamenco.

  6. Mazot Hortlak says:

    Paola, you just went through music theory for guitarists in less than 20 minutes! Bravo!

  7. Bruce Levine says:

    The jumping from A to Bb toA is Jewish influence.
    I found your video lecture to be a little too fast im going to listen again a few times so much information

  8. huntikis says:

    Medre mia, que bueno que has subido algo como esto, gracias Paola!

  9. JXRPBTC says:

    Por fin uno de los videos que esperaba! Gracias Paola por tanto!

  10. Jasmin Norris says:

    Très intéressant Merci Beaucoup Paola! 🙂

  11. Vulgar Response says:

    My Flamenco is very bad, it makes dog's howl and babies cry!

  12. Javier Caltenco says:

    Hola Paola, que impresionantes son tus conocimientos del arte de la guitarra! Eres una gran maestra! Felicidades!!!

  13. Giuseppe Di Michele says:

    Eres fantastica yo estube trabajando en andalucia por dos anos soy italiano y me gusta tocar guitara y cantar …..todo lo que escuche de tus interpretaciones me han echo emocionar ….y recordar tu hermosa region …..ademas ….como maestra .. lo che esplicas es …muy claro le hases venir ganas de flamenco a qualquiera …..el web deberia estar lleno de personas como tu……de todo corason de verdad te deseo mucho exito en todo lo que quieres haser ….por favor sigas haciendo todo con el mismo coracon que le estas poniendo haora ……creo che tambien tu voz merece un poco de atencion es linda ….gracias por lo que hases disculpa mis erores de ortografia

  14. Josep Torralba says:


  15. Jason Booker says:

    The 'explanation' parts of your videos are always just as good as the music!

  16. estudiante de ciclos says:

    Muy bueno. Me gustaría que extendieses un poquito la cosa. Por ejemplo, como están construidas algunas obras, como la de tu vídeo de la soleá, en la que hablas de una parte "ad libitum". Creo que también se llaman "entradas libres", y si hay alguna pauta como las de estrofa, estribillo, puente, etc. Es algo muy interesante para quien quiere crear sus propios temas en flamenco. No encuentro apenas literatura sobre ello. Gracias por tu atención. Saludos.

  17. Bosingr says:

    Thank you Paola for explaining Flamenco music so well and giving us a much better understanding of it and its history.

  18. nokiae51 says:

    Very interesting, good job ??

  19. Anne Gibbs says:

    This was so informative and educational. Thank you Paola. I can tell that you know much about music. I enjoyed this very much.

  20. Juliano Timmers says:

    Estoy evolucionando con la guitarra flamenca con pasos de hormiga, pero este video fue fundamental para alentarme a continuar con la formalización de mi estudio. Muchas gracias Paola, tus palabras acompañadas por la gracia del sonido de tu guitarra, reflejan más que información, tienen sabiduría y esto es raro y muy admirable!

  21. pastelero milhojas says:

    guaaau que bueno

  22. emilianocaballeroh says:

    Dios mio, eres un tesoro nacional, mujer. Gracias por enseñarme tanto. ?

  23. Clara Solano says:


  24. Magalion V64 says:

    Excelente Paola. Permíteme decirte sólo que se te olvidó la gran influencia americana en el flamenco, especialmente en los cantes de ida y vuelta: las colombianas, la vidalita, las guajiras… son cantes importante que beben de nuestra historia común hispanoamericana. Besos y gracias

  25. Gabriel Lozano says:


  26. Olatunji Thomas says:

    Thank you, Paola..

  27. Domingo Alvarez says:

    Ole ole y ole. Gracias!

  28. marza says:

    Me ha encantado. Todos los videos son bienvenidos. Es la mejor manera de entender el flamenco. Admiro a Paco de Lucia y disfruto mucho con tus versiones y tambien con tus temas originales. La guitarra me apasiona. La clásica y la española, flamenca y bueno, toda. Muchas gracias y sigue así.

  29. KoPain Houi says:


  30. Exe Gamboa says:

    ???……….bien profe

  31. Jose Maria G.V. says:

    Me encanta, necesitaré varios días para poder asimilarlo, sobre todo por mi desconocimiento. Sigue ayudándonos a aprender sobre la música!

  32. Abe Cádiz says:

    Gracias por darle fundamento teórico a la música flamenca, que tanta riqueza tiene!

  33. Ozmar Lopez says:

    Me encantan los vídeos como éste, se aprende mucho! Saludos desde México!

  34. NoeEnrique Vera says:

    A donde vas Conejo Blas con esa escopeta que llevas atrás?

  35. william kauffman says:

    the history of music is very interesting, thanks!

  36. Karl Karzon says:

    Paolita hermosa , eres una chingona , como decimos en México

  37. Vinicius Braçale says:

    Fantastica.. tu es incrible



  39. Taith Macerca says:

    Si, si signorina.

  40. NoeEnrique Vera says:

    Play the most Flamenco piece you can find please!

  41. Jesus Martinez says:

    Muchas gracias por esta muy instruida explicación, y sí por favor una clase de los palos del flamenco.

  42. Abe Cádiz says:

    Opino que el hecho de que el flamenco no se haya trasmitido de forma escrita o formal ayuda a la creatividad en la interpretación que en cada ocasión va a ser diferente y hace que sea algo mágico cuando surge el " Duende" en una actuación o encuentro! ( me recuerda al jazz en esto)!

  43. dxd dxd says:

    Un lio tia…. 🙂

  44. Javier Masiá Dasí says:

    que grande eres niña!!!

  45. katafasko says:

    Sería imposible dar una explicación más amplia y detallada, dados los límites de un vídeo de YouTube. Lo tuyo es muy especial en todos los aspectos. Gracias por enriquecernos.

  46. Happy Little Tree says:

    Acabo de descubrir tu canal y me parece increíble. Vídeos muy interesantes y muy bien explicados. Genial!

  47. alcazarjc says:

    ¡Cuánto sabes y qué bonito lo explicas! ?

  48. Mohamed Nen moussa says:

    Gracias muy interesante un Saludo Maiestra

  49. Edwin Salinas says:

    Eres maravillosa

  50. Fabrizio di Carlo says:

    Sei brava e simpatica. In pochi minuti hai riassunto secoli di storia musicale.

  51. Jose Antonio Manzanero says:

    Muy buen vídeo!! Los que somos de formación clásica necesitamos aprender de otros lenguajes musicales que son realmente interesantes y enriquecedores. Me fascina tu manera de tocar, enhorabuena por tu gran talento tan bien aprovechado. Un saludo!!

  52. Francisco CAMPA - Francisco Andrés Callado Andrés says:

    Eres una crack, pero por favor no digas que se cambió el nombre a los modos griegos. Porque los ascendentes no tienen nada que ver y vienen de los echoi bizantinos. Como a los bizantinos se les llamaba griegos tenemos esta confusión histórica… Las dos teorías conviven igual que hoy en día convive el clásico con el jazz. Repito, ¡eres una crack! Es una pena que no hablemos más de esto tú y yo

  53. R. Barata V says:

    Que grande!!

  54. Gianfranco Viola says:

    Spiegazione chiara e affascinante. Adesso mi tocca imparare il flamenco!!

  55. Jesús MB says:

    Muchísimas gracias Paola y enhorabuena. Éste es un video para mirar y remirar. ¿Tienes alguna recomendación bibliográfica para profundizar en la armonía flamenca? ¡Es muy interesante!

  56. poppy amato says:

    Eccellente non ti manca nulla

  57. Pumo fer says:

    Impecable,!!!! Muchas gracias!!

  58. Willard Garcia says:

    Muchas gracias por esta bella explicación. Cuánta dedicación, paciencia y alegría en cada ejemplo y forma de explicar. Gracias por tanto Paola ♡

  59. COCINA VEGANA says:

    Me encanta el orden que llevas para explicarnos la historia de la música. 😉

  60. Bartolo Rivero says:

    Me ha encantado el vídeo, y si, me gustaría mucho otro sobre los palos del flamenco. Gracias.

  61. alberto gonzalez says:

    Hola! no estarás por Madrid no? porque te contrataba de profe seguroooooo

  62. christian perez says:

    Me a encarando,

  63. abel herbe says:

    Bonita melodía la del final del video.

    Había… quien era capaz de sacarle ese 1/4 de tono a la guitarra

  64. Magma Fluorescent says:

    Eres una gran inspiración ya que yo igual me dedico a tocar guitarra clásica. ? por favor síganme en mi canal, igual empezando a subir videos tocando

  65. judijaba says:

    Peazo lección que se hace corta. Muy ilustrativa. Gran favor a la música flamenca para legos como yo.

  66. Sergio Mallorga says:

    Iluminador aporte, Paola. ¡Muchas gracias!

  67. Juan Diego Hernández Lalinde says:

    Ja, ja, ja. Belleza, dulzura e inteligencia. Gracias.

  68. Nelson Hernandez says:

    Tu debes ser de otro planeta, que pasión, emoción y sabiduria para enseñar, Dios te Bendiga

  69. Feh von Dorff says:

    Linda e talentosa como sempre Paola, adorei a teoria sou apaixonado por música flamenca !!
    Gostaria de lhe indicar una música brasileira chamada Odeon- Ernesto de Nazareth

    Saludos desde Brasil, mil perdon por no hablar bien Español

  70. Jesús A P says:

    Hola!! Muy interesante, como siempre ??
    De dónde eres??

  71. O M says:

    Mi hermosa princesa andaluza.

  72. Tárcio Farias says:

    Frígio, segunda menor…

  73. Guillermo Fernandez says:

    Muy bien explicado Paola gracias por el video

  74. Marco Antonio Lara says:

    Hermosa intelectual educada la mejor maestra del mundo eres una.locura de sabiduría

  75. Marco Antonio Lara says:

    Bamba bamba para bailar la bamba do FA y sol.

  76. Carlos Javier Ruiz Muñoz says:

    Eres maravillosa Paola!!!! Qué hubiese dado yo por haberte tenido de profesora de música cuando estudiaba el BUP. Además de la música y la docencia tienes muy buena madera de etnomusicóloga.

  77. David Collao Castro says:

  78. Marco Antonio Lara says:

    La misma gata pero revolcada gracias por la información

  79. Luis Carlos Hinojal says:

    Paola, tu apellido es diminutivo. Pero lo tuyo es aumentativo o superlativo. Un millón de gracias. Para mí el flamenco es una pasión, y me ayudan tus videos. Muchas gracias de nuevo?????

  80. Critia Dafaka says:

    Suena bien me la aprendere ❤

  81. Luis Jesús Díaz Ruiz says:

    Este video vale oro, muchas gracias. Por favor me gustaría más videos de historia musical

  82. Miguel Angel Andrade says:

    Hola buenas tardes amiga pao

  83. Durant L says:

    – Yo soy el que soy y vengo de donde vengo.
    – ,Maestro, me gustas por lo bien que te explicas.

  84. Jhony Correia says:

    Sou brasileiro e o estilo que mais acompanho de fora do meu país é o FLAMENCO. Apaixonante este gênero/estilo. ❤???

  85. Durant L says:

    Una SupeCrack Hermosín..

  86. Miguel Angel Andrade says:

    Tienes mucho talento y bonita forma d enseñar de tí aprendo mucho

  87. Roberto Rodriguez says:

    Te acabo de descubrir recientemente Paola y lo he flipado con este video! Gracias por ayudarnos a aprender y a entender la guitarra a los amantes de este intrumento!

  88. Aarón Santana says:

    He aprendido mucho con este video. Felicidades, es una buena aportación para los profanos en el flamenco.

  89. Marcelo RSBS says:

    Linda maravilhosa

  90. Ezequiel Matías says:

    Súper interesante. Gracias

  91. Francisco Batista Garcia says:

    Gracias por compartir tus conocimientos, saludos desde México.

  92. RGL01 says:

    Thank you for this lesson!!!

  93. Ricardo Muñoz says:

    Me encantaría que sigueras compartienso el gran conocimiento que tienes
    Que gran persona por compartirlo ?
    Saludos ✌️??

  94. GuitSiva says:

    Hi Paola..
    Hope all is well..?This briefing on theory was excellent and analysis on The Beatles song Michelle* with Flamenco modes was quite interesting indeed..?Thanks, oh yeah you sang that song so beautifully and why don't u sing it along with the gentle plucking of chords..?Warm cheers..? God bless..????

  95. Javier Medrano says:

    Genial, muchas gracias!

  96. Julián Santos Hernandez says:

    Eres mi ídola bendiciones para ti siempre

  97. jorge esteban velasquez hernandez says:

    Excelente video, gracias por la info, te felicitooooo

  98. fernando guerrero says:

    me gusta mucho este tema

  99. Jeff Baldridge says:

    Fine Lesson Paola, Thank You

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