Andalusian cadence

Called the Diatonic tetrachord, the sequence resembles the bass line of the chord progression developed centuries later.

[4][5] 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.

[4] 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.

The piece begins in A minor and clearly uses the cadence pattern as a basso ostinato, resulting in Amin – Emin – Fmaj – E7.

This said, the Phrygian tetrachord, borrowed from traditional music of Eastern Europe and Anatolia,[11] is to be found also in the Andalusian cadence and sets the mentioned character (the semitone falls between [the roots of] V and ♭VI).

A rigorous analysis should note that many chord progressions are likely to come from an epoch prior to early Baroque (usually associated with birth of tonality).

[11] In such cases (also, that of the Andalusian cadence), explanations offered by tonality "neglect" the history and evolution of the chord progression in question.

In exchange, the luxuriant modal system (i.e., the entirety of musical modes ever created and their specific harmonies – if existing[11]) offers various plausible origins and explanations for every chord move.

[2] A number of musicians and theorists (including renowned guitarist Manolo Sanlúcar) consider the Andalusian cadence as a chord progression built upon the Phrygian mode.

When the VI chord, which may be added between III and ♭II (iv–III–VI–♭II–I) and cadenced upon, is the most characteristic contrasting tonal area, similar by analogy to the relative major of a minor key.

[15] The tonal system sets three main functions for the diatonic tertian chords: tonic (T), dominant (D) and subdominant (SD).

Flamenco guitarist Ramón Montoya and singer Antonio Chacón were among the first to use the new keys, which have distinctive names:[13] Songs of the early 1960s, such as the Ventures' 1960 hit "Walk, Don't Run",[3] 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.

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.