Investigation Aim:
In this musical links investigation, I intend to make a cultural link between traditional Egyptian/Arabic music and traditional Flamenco music. These exclude westernized, modernized or contemporary forms of these genres as these altered forms of this music have different traits and origins. Background information regarding the role of the music within the culture, distinct music theory characteristics of each genre, instruments used, and the origin of the music will be included using cultural references for both genres before discussing a link between them. This will provide you with a foundation that will be developed by the section: Similarities/Links. In this section, you will find that the two aspects that link these to genres are scale theory and improvisational techniques.
Flamenco Background:
The term “Flamenco” was first used to describe the culture and traditions of Spain in the 18th century. The term comes from the word “Flamingo” which refers to the way in which the flamenco dancers moved. Flamenco is not only a musical term to describe singing or guitar playing but also refers to the dance or “Baile”. Flamenco music derives from Romani and the Andalusian region of Spain. The Romani or “Gypsy” people originate in northern India but have spread all over Europe. The Romani people were known as nomadic people, involved in trade, as well as for musicianship. They have gained many influences due to their long distance traveling. Flamenco uses similar characteristics in their vocals to express the voice of the working class or the common man. Flamenco has several mediums in which it expresses itself. These include cante (sing), Toque (play), and Baile (dance). These may be combined but are also separated during performance. This is important as it is a traditional aspect of the music that connects it to Spanish culture. Flamenco is not limited to solo performance, but is often divided as such. Flamenco guitar (toque) is so often used to define the flamenco sound, it is often sufficient in providing a flamenco song's structure. The Flamenco cadence (VI,V, IV, III) is easily provided by the guitar. This cadence implies the use of the phrygian dominant scale and mode variation. For example, the gypsy scale is often used in this situation.
Flamenco Instruments:
Some characteristic Flamenco instruments include the Flamenco guitar, the classic guitar, (and some percussion instruments) Cajon, Palmas, and Palillos. "Las Palmas" or palms refers to clapping for the musicians and dancers which is actually an essential part to Flamenco music to accent important rhythms. Palillos are made of concave shells or carved wood or stone. The palillos are a necessary aspect of the "baile" or dance as they add to the texture of the flamenco ensemble with percussion instruments.
In this musical links investigation, I intend to make a cultural link between traditional Egyptian/Arabic music and traditional Flamenco music. These exclude westernized, modernized or contemporary forms of these genres as these altered forms of this music have different traits and origins. Background information regarding the role of the music within the culture, distinct music theory characteristics of each genre, instruments used, and the origin of the music will be included using cultural references for both genres before discussing a link between them. This will provide you with a foundation that will be developed by the section: Similarities/Links. In this section, you will find that the two aspects that link these to genres are scale theory and improvisational techniques.
Flamenco Background:
The term “Flamenco” was first used to describe the culture and traditions of Spain in the 18th century. The term comes from the word “Flamingo” which refers to the way in which the flamenco dancers moved. Flamenco is not only a musical term to describe singing or guitar playing but also refers to the dance or “Baile”. Flamenco music derives from Romani and the Andalusian region of Spain. The Romani or “Gypsy” people originate in northern India but have spread all over Europe. The Romani people were known as nomadic people, involved in trade, as well as for musicianship. They have gained many influences due to their long distance traveling. Flamenco uses similar characteristics in their vocals to express the voice of the working class or the common man. Flamenco has several mediums in which it expresses itself. These include cante (sing), Toque (play), and Baile (dance). These may be combined but are also separated during performance. This is important as it is a traditional aspect of the music that connects it to Spanish culture. Flamenco is not limited to solo performance, but is often divided as such. Flamenco guitar (toque) is so often used to define the flamenco sound, it is often sufficient in providing a flamenco song's structure. The Flamenco cadence (VI,V, IV, III) is easily provided by the guitar. This cadence implies the use of the phrygian dominant scale and mode variation. For example, the gypsy scale is often used in this situation.
Flamenco Instruments:
Some characteristic Flamenco instruments include the Flamenco guitar, the classic guitar, (and some percussion instruments) Cajon, Palmas, and Palillos. "Las Palmas" or palms refers to clapping for the musicians and dancers which is actually an essential part to Flamenco music to accent important rhythms. Palillos are made of concave shells or carved wood or stone. The palillos are a necessary aspect of the "baile" or dance as they add to the texture of the flamenco ensemble with percussion instruments.
Flamenco Harmony/Scale Theory:
Flamenco’s most common mode is the Phrygian scale. This is used in a number of palos: soleá, most bulerías, siguiriyas, tangos and tientos. Palos are forms of flamenco that are characterized by their modes, geography, chord structure, and by its rhythmic patterns. Flamenco melodies usually include the natural minor or harmonic minor scale utilized within the Phrygian mode. This is to say that the tonic note of a flamenco progression or what is known as an Andalusian Cadence is E when playing in E Phrygian or A minor. In the Andalusian Cadence, the order is Am, G, F, E. F is the dominant chord in this progression, as it pulls towards E Phrygian. A minor is an appropriate scale to use rather than E Phrygian for those not used to playing in unusual modes other than major or minor (Ionian and Aeolian). Minor tonality is limited to the Palos (form) farruca, milongas, and some tangos. Given that a flamenco progression with the tonic note as E, when using minor tonality, the A minor scale or the A harmonic minor scale is used in this regard. For major tonality, the tonic note is C in this same chord structure.
The video above features an Andalusian Cadence played by a Flamenco guitarist Joseph Pratt playing examples of the Andalusian Cadence in A minor. Notice his use of the phrygian scale during 0:26 - 0:28 to accommodate the E major chord.
Flamenco’s most common mode is the Phrygian scale. This is used in a number of palos: soleá, most bulerías, siguiriyas, tangos and tientos. Palos are forms of flamenco that are characterized by their modes, geography, chord structure, and by its rhythmic patterns. Flamenco melodies usually include the natural minor or harmonic minor scale utilized within the Phrygian mode. This is to say that the tonic note of a flamenco progression or what is known as an Andalusian Cadence is E when playing in E Phrygian or A minor. In the Andalusian Cadence, the order is Am, G, F, E. F is the dominant chord in this progression, as it pulls towards E Phrygian. A minor is an appropriate scale to use rather than E Phrygian for those not used to playing in unusual modes other than major or minor (Ionian and Aeolian). Minor tonality is limited to the Palos (form) farruca, milongas, and some tangos. Given that a flamenco progression with the tonic note as E, when using minor tonality, the A minor scale or the A harmonic minor scale is used in this regard. For major tonality, the tonic note is C in this same chord structure.
The video above features an Andalusian Cadence played by a Flamenco guitarist Joseph Pratt playing examples of the Andalusian Cadence in A minor. Notice his use of the phrygian scale during 0:26 - 0:28 to accommodate the E major chord.
Traditional Egyptian Background:
Egyptian music originated from ancient Egypt, as the ancient Egyptians believed that one of their gods, Hathos, created music which Osiris used to civilize the planet. Bes is also known to be associated with music, as both were also representative of dance, fertility, and childbirth. The Egyptians were not traveling like the gypsy or Romani people, so their music is self influenced without external interference before the start of modern Egyptian music. Music in ancient Egypt is not properly documented or taken record of before 3100 BCE. But in Egyptian society, musicians had roles in the temple, in tombs, in battle, palaces, and as farmer. According to Egyptian carvings and artwork, music was used to entertain royalty rather than entertain the common man as in Flamenco. (" there is little evidence for the amateur musician in pharaonic Egypt, and it is unlikely that musical achievement was seen as a desirable goal for individuals who were not professionals." Music in Ancient Egypt,)
Ancient Egyptian Instruments used in Pharonic, Ancient Egypt were varied. Percussion instruments included drums, rattles, bells, and a sistrum, a religiously important rattle. As well as these percussion instruments, Egyptians used lyres, flutes, and harps as stringed instruments and flutes (with or without reeds) and the trumpet which is a very primitive version of modern trumpets today as they have no mouth-piece or valves.
Egyptian music originated from ancient Egypt, as the ancient Egyptians believed that one of their gods, Hathos, created music which Osiris used to civilize the planet. Bes is also known to be associated with music, as both were also representative of dance, fertility, and childbirth. The Egyptians were not traveling like the gypsy or Romani people, so their music is self influenced without external interference before the start of modern Egyptian music. Music in ancient Egypt is not properly documented or taken record of before 3100 BCE. But in Egyptian society, musicians had roles in the temple, in tombs, in battle, palaces, and as farmer. According to Egyptian carvings and artwork, music was used to entertain royalty rather than entertain the common man as in Flamenco. (" there is little evidence for the amateur musician in pharaonic Egypt, and it is unlikely that musical achievement was seen as a desirable goal for individuals who were not professionals." Music in Ancient Egypt,)
Ancient Egyptian Instruments used in Pharonic, Ancient Egypt were varied. Percussion instruments included drums, rattles, bells, and a sistrum, a religiously important rattle. As well as these percussion instruments, Egyptians used lyres, flutes, and harps as stringed instruments and flutes (with or without reeds) and the trumpet which is a very primitive version of modern trumpets today as they have no mouth-piece or valves.
The video above features an improvisation on a 3500 year old ancient Egyptian scale, performed on an archaic skin-membrane harp. Because there have been no recorded musical notations from Ancient Egypt, historians have decoded hand signals or gestures in Egyptian murals or paintings that suggest a different pitch or tone. ("they did have a form of musical notation based on hand gestures (chironomy) - whereby specific hand gestures represented specific changes in pitch. Remarkably, chironomy still survives today (along wiht some of the ancient Egyptian language) in the Coptic Church - a living musical legacy maybe dating back some 5000 years!" Micheal Levy, Ancientlyre.com)
Egyptian Scale Theory
Egyptian music also features the Phrygian scale as well as many modes that provide a piece with dissonance and tension. Variations of this mode like the phrygian dominant scale are also common along with Lydian, Lydian dominant scale, and the double harmonic (Arabic scale). The Egyptian scale is also used in this type of music. It is known as one of the more exotic scales rarely used in even modern music besides some types of metal. But this scale is interesting because of its intervals. The minor third gives it some minor tonality while the sharp four pulls towards the perfect fifth. The strangest part of the Egyptian scale is the double flatted six. This is a perfect fourth from the minor third which gives a completely different feel to a musician’s fingers when playing in this scale. The major seven in the scale gives that harmonic minor feel to the scale, being a half step lower than the root note.
Similarities/links:
The first link between these two genres is the use of very similar scales. The phrygian, phrygian dominant, harmonic minor tonalities are common to both of these genres. The major 7th in the harmonic minor scale is a consistent sound in toque (guitar) playing in flamenco. Considering that Flamenco is a genre that uses much improvisation, the scales are used by the guitarist who is improvising over the Andalusian cadence, which features chords resolving to the relative phrygian (E in a percieved tonic C major). This means that all the chords are leading up to one note to resolve the progression. Accordingly, the scales used during the improvisation aspect of Flamenco add flavor to the overall sound. In Egyptian music, the major seventh is sometimes combined with a flatted second. This gives the scale two notes that are a semitone from the root note. There are some things to be said about the culture of a country or region that utilizes a scale with two notes that are a semitone above or below the root note. The tension and longing for resolution that these notes provide is unlike any other scale in the musical world. This is significant to Egyptian music as tension is demonstrated through long phrases on solo instruments resolving on a drone or a repeated tonic.
Egyptian Scale Theory
Egyptian music also features the Phrygian scale as well as many modes that provide a piece with dissonance and tension. Variations of this mode like the phrygian dominant scale are also common along with Lydian, Lydian dominant scale, and the double harmonic (Arabic scale). The Egyptian scale is also used in this type of music. It is known as one of the more exotic scales rarely used in even modern music besides some types of metal. But this scale is interesting because of its intervals. The minor third gives it some minor tonality while the sharp four pulls towards the perfect fifth. The strangest part of the Egyptian scale is the double flatted six. This is a perfect fourth from the minor third which gives a completely different feel to a musician’s fingers when playing in this scale. The major seven in the scale gives that harmonic minor feel to the scale, being a half step lower than the root note.
Similarities/links:
The first link between these two genres is the use of very similar scales. The phrygian, phrygian dominant, harmonic minor tonalities are common to both of these genres. The major 7th in the harmonic minor scale is a consistent sound in toque (guitar) playing in flamenco. Considering that Flamenco is a genre that uses much improvisation, the scales are used by the guitarist who is improvising over the Andalusian cadence, which features chords resolving to the relative phrygian (E in a percieved tonic C major). This means that all the chords are leading up to one note to resolve the progression. Accordingly, the scales used during the improvisation aspect of Flamenco add flavor to the overall sound. In Egyptian music, the major seventh is sometimes combined with a flatted second. This gives the scale two notes that are a semitone from the root note. There are some things to be said about the culture of a country or region that utilizes a scale with two notes that are a semitone above or below the root note. The tension and longing for resolution that these notes provide is unlike any other scale in the musical world. This is significant to Egyptian music as tension is demonstrated through long phrases on solo instruments resolving on a drone or a repeated tonic.
This video features another improvisation by Michael Levy imitating an old Egyptian scale. Because there is only one tonic, and no homophany, he stresses the tonic note by repeatedly strumming it creating a drone effect (1:05 - 1:09). The minor second, stressed in 5:00-5:03, exemplifies the use of tension in the scales used by Egyptians, this being a Pentatonic Egyptian scale.
The video above presents a guitarist imitating Egyptian and North African techniques of improvisation. Although Ancient Egyptians did not use guitars and picks, this guitarist's note choice an droning of the low E string do emulate Ancient Egyptian improvisation techniques. Notice the slides in 1:48-1:50 which apply to the second link: improvisational techniques and tambre.
In Egyptian music, it is popular to have a tonic center that underlies the rest of notes in the piece. The tonic, however, is sometimes difficult to decipher for modern, western ears considering the strange scales used. Given the flat second and major seventh in some of the Egyptian scales, these notes are used to express tension towards a resolution. Flamenco shows a similar appreciation for this tension by using the phrygian scale with a flatted second, and using the harmonic minor scale with a raised seventh. The similarity here is that these intervals are used very frequently to resolve the short Andalusian cadences that make up Flamenco chord structures, and the long improvisations in the Egyptian scale and phrygian dominant scales used in Egyptian music.
The second link between these two genres is the frequent use of improvisation by solo string instruments. Flamenco is notorious for it's distinct moody, atmospheric guitar sound ("intense and passionate, with a threat of wild abandon barely kept in check by the music's strict rhythmic structure." National Geographic) while Egyptian music is known for its use of strange scales on the harp or lyre ( "The very first lyres were harp-sized, and were discovered at Ur. Incredibly, they predate the building of the Pyramids in Egypt - they date back to c.2600BCE" Michael Levy: Ancient Lyre). The musician's improvisation is responsible for the entirety of the music, however, the improvisations are based on motifs and on scales. Notice the motif played by Michael Levy in "improvisation on an Ancient Egyptian Scale..." in 0:50 - 0:56. Also, because Flamenco is fairly consistent with their chord progressions, their songs also rely on a motif or a theme. Joseph Pratt uses a motif in 0:00 - 0:17 also to accomodate an Andalusian cadence. Because Flamenco uses homophany and chord progressions while Ancient Egyptians did not, the link lies not in the form, but in the tambre, texture, and phrasing during a solo piece. The use of the intervals above (major 7th and minor 2nd) in solos provide the listener with interesting, exotic sounding runs or motifs that dictate the improvisation. The techniques such as bends, slides, and repetitions of notes in a staccato fashion are frequent in both genres usually to exaggerate or present the minor 2nd and Major 7th before resolving to the tonic. This is exemplified by flamenco in the video link above of Joseph Pratt (1:53 - 1:55) and by guitarist in "Ancient Egyptian Arabic Improvisation on Fretless Guitar" during 2:47 - 3:03.
Bibliography:
"Ancient Egypt: Music and Dance." Reshafim.org. andré dollinger Reshafim, Israel
January 2000 to the present, n.d. Web. 28 Nov. 2012.
<http://www.reshafim.org.il/ad/egypt/timelines/topics/music.htm>.
"An Introduction to Flamenco Music." Flamenco Music. Ed. Geoff Alexander.
Copyright (c) 2012 Geoff Alexander, n.d. Web. 10 Dec. 2012.
<http://www.afana.org/flamenco.htm>.
"Flamenco Modes and Scales." Flamenco Guitars: Flamenco Music Harmonies.
FLAMENCO-GUITARS.COM © 2010, n.d. Web. 9 Dec. 2012.
<http://www.flamenco-guitars.com/flamenco_modes_and_scales.html>.
"Flamenco Music." National Geographic. © 1996-2012 National Geographic Society,
n.d. Web. 20 Feb. 2013. <http://worldmusic.nationalgeographic.com/view/
page.basic/genre/content.genre/flamenco_718/en_US>.
Gadalla, Moustafa. "Music in Ancient Egypt." Egypt-Tehuti.org. Tehuti Research
Foundation, n.d. Web. 20 Feb. 2013. <http://www.egypt-tehuti.org/
general-information/the-learned-ancient-egyptians-2/music-in-ancient-egypt/>.
"michael levy." Ancient Lyre. Ed. Michael Levy. Michael Levy, n.d. Web. 13 Feb.
2013. <http://www.ancientlyre.com/>. RECREATING MUSIC OF THE
ANCIENT WORLD
"Music in Ancient Egypt." Umich.edu. Macmillan and Co., London 1894, n.d. Web.
28 Nov. 2012. <http://www.umich.edu/~kelseydb/Exhibits/MIRE/Introduction/
AncientEgypt/AncientEgypt.html>.
In Egyptian music, it is popular to have a tonic center that underlies the rest of notes in the piece. The tonic, however, is sometimes difficult to decipher for modern, western ears considering the strange scales used. Given the flat second and major seventh in some of the Egyptian scales, these notes are used to express tension towards a resolution. Flamenco shows a similar appreciation for this tension by using the phrygian scale with a flatted second, and using the harmonic minor scale with a raised seventh. The similarity here is that these intervals are used very frequently to resolve the short Andalusian cadences that make up Flamenco chord structures, and the long improvisations in the Egyptian scale and phrygian dominant scales used in Egyptian music.
The second link between these two genres is the frequent use of improvisation by solo string instruments. Flamenco is notorious for it's distinct moody, atmospheric guitar sound ("intense and passionate, with a threat of wild abandon barely kept in check by the music's strict rhythmic structure." National Geographic) while Egyptian music is known for its use of strange scales on the harp or lyre ( "The very first lyres were harp-sized, and were discovered at Ur. Incredibly, they predate the building of the Pyramids in Egypt - they date back to c.2600BCE" Michael Levy: Ancient Lyre). The musician's improvisation is responsible for the entirety of the music, however, the improvisations are based on motifs and on scales. Notice the motif played by Michael Levy in "improvisation on an Ancient Egyptian Scale..." in 0:50 - 0:56. Also, because Flamenco is fairly consistent with their chord progressions, their songs also rely on a motif or a theme. Joseph Pratt uses a motif in 0:00 - 0:17 also to accomodate an Andalusian cadence. Because Flamenco uses homophany and chord progressions while Ancient Egyptians did not, the link lies not in the form, but in the tambre, texture, and phrasing during a solo piece. The use of the intervals above (major 7th and minor 2nd) in solos provide the listener with interesting, exotic sounding runs or motifs that dictate the improvisation. The techniques such as bends, slides, and repetitions of notes in a staccato fashion are frequent in both genres usually to exaggerate or present the minor 2nd and Major 7th before resolving to the tonic. This is exemplified by flamenco in the video link above of Joseph Pratt (1:53 - 1:55) and by guitarist in "Ancient Egyptian Arabic Improvisation on Fretless Guitar" during 2:47 - 3:03.
Bibliography:
"Ancient Egypt: Music and Dance." Reshafim.org. andré dollinger Reshafim, Israel
January 2000 to the present, n.d. Web. 28 Nov. 2012.
<http://www.reshafim.org.il/ad/egypt/timelines/topics/music.htm>.
"An Introduction to Flamenco Music." Flamenco Music. Ed. Geoff Alexander.
Copyright (c) 2012 Geoff Alexander, n.d. Web. 10 Dec. 2012.
<http://www.afana.org/flamenco.htm>.
"Flamenco Modes and Scales." Flamenco Guitars: Flamenco Music Harmonies.
FLAMENCO-GUITARS.COM © 2010, n.d. Web. 9 Dec. 2012.
<http://www.flamenco-guitars.com/flamenco_modes_and_scales.html>.
"Flamenco Music." National Geographic. © 1996-2012 National Geographic Society,
n.d. Web. 20 Feb. 2013. <http://worldmusic.nationalgeographic.com/view/
page.basic/genre/content.genre/flamenco_718/en_US>.
Gadalla, Moustafa. "Music in Ancient Egypt." Egypt-Tehuti.org. Tehuti Research
Foundation, n.d. Web. 20 Feb. 2013. <http://www.egypt-tehuti.org/
general-information/the-learned-ancient-egyptians-2/music-in-ancient-egypt/>.
"michael levy." Ancient Lyre. Ed. Michael Levy. Michael Levy, n.d. Web. 13 Feb.
2013. <http://www.ancientlyre.com/>. RECREATING MUSIC OF THE
ANCIENT WORLD
"Music in Ancient Egypt." Umich.edu. Macmillan and Co., London 1894, n.d. Web.
28 Nov. 2012. <http://www.umich.edu/~kelseydb/Exhibits/MIRE/Introduction/
AncientEgypt/AncientEgypt.html>.