Flamenco mode

[1]Flamenco, which is a harmonic system of false relations constitutes, according to Manuel de Falla, "one of the marvels of natural art."

Since the tetrachord beginning on the tonic may ascend or descend with either G-sharp or natural (Phrygian tetrachord), the mixed-thirds clash between the major third degree (G♯) in the melody and the minor third degree (G♮) in the accompanying harmony occurs frequently and is characteristic of the flamenco esthetic, as with the blues scale on a major chord.

[5] This tetrachord may be copied in the second, producing a D♯ and allowing an augmented sixth chord on the second degree: B7♭5/F.

[8] Lou Harrison composed a "Sonata in Ishartum" (1974 or 1977),[9] which has been arranged by Tolgahan Çoğulu (2001),[10] part of his Suite.

In early scholarship regarding a Babylonian cuneiform inscription tuning tablet from the eighteenth century BC, "Ishartum" was equated with the modern Phrygian, but now it is considered equivalent to the Ionian mode/major scale.

Flamenco mode Play ⓘ .
The two possibilities for ascent and descent over the tonic in the flamenco mode Play ⓘ : a chromatic tetrachord (E–F–G ♯ –A) and/or Phrygian tetrachord (E–F–G–A) Play ⓘ .
Augmented sixth chord : B 7 ♭ 5 /F—E or ♭ II 4
2 —I Play ⓘ .
Flamenco style melismas from the first movement of Cassadó 's Sonata for Cello (1925), m.29-30, [ 6 ] cello part (the figure first appears in the piano in measures 1 and 3) ( Play ⓘ )
Flamenco mode with two Phrygian tetrachords Play ⓘ , also known as the Gypsy major scale . [ 7 ]