Summary:
The Andalusian cadence is a powerful and evocative chord progression, defined by a descending bassline that moves from the minor tonic to the dominant: i-VII-VI-V. Famous for its use in Spanish flamenco, this progression's haunting, passionate, and exotic sound has made it a favorite in genres spanning from classical and rock to film scores and heavy metal.
Keywords:
Andalusian cadence, i-VII-VI-V progression, flamenco harmony, Phrygian harmony, descending bassline, lament bass, minor key harmony, Spanish music theory, modal harmony
Introduction: A Sound of Passion and Mystery
Few chord progressions are as instantly recognizable and emotionally potent as the Andalusian cadence. Named for the Andalusia region of Southern Spain, it is the harmonic soul of flamenco music. Yet, its influence stretches far beyond the Iberian Peninsula, appearing anywhere a composer wants to evoke a sense of drama, fate, passion, or exoticism. From the Baroque era to modern rock anthems, this four-chord sequence has a timeless appeal that continues to captivate listeners.
Decoding the Harmony: A Tale of Two Keys
The genius of the Andalusian cadence lies in its harmonic ambiguity. It can be interpreted in two different ways, and its unique sound comes from the listener hearing both possibilities at once.
1. The Minor Key Perspective (i-VII-VI-V):
In a minor key, the progression is analyzed as i-VII-VI-V. Let's use the key of A minor. The chords are derived from different forms of the minor scale:
- i (Am): The tonic minor chord (from A Natural Minor: A-B-C-D-E-F-G).
- VII (G): A major chord built on the 7th degree (from A Natural Minor).
- VI (F): A major chord built on the 6th degree (from A Natural Minor).
- V (E): A major chord built on the 5th degree. This is the crucial part! To create a strong "dominant" pull back to the tonic (Am), we borrow the G# from the A Harmonic Minor scale (A-B-C-D-E-F-G#). This raised 7th degree (G#) is the leading tone, making the E chord major (E-G#-B) and creating powerful tension.
Andalusian Cadence in A Minor (with Dominant V)
This example shows the standard progression with the bass descending A-G-F-E. Note the G# in the final E major chord, which strengthens its dominant function.
2. The Phrygian Mode Perspective (iv-III-II-I):
The progression's "Spanish" sound comes from its strong connection to the Phrygian mode. If we re-center our thinking around the final chord (E) as the tonic, the progression becomes iv-III-II-I in E Phrygian (E-F-G-A-B-C-D). The defining feature of the Phrygian mode is the half-step between the first and second degrees (E and F). Our progression (Am-G-F-E) perfectly highlights this descending Phrygian tetrachord (A-G-F-E), with the F-E step creating the signature dramatic flavor. In this context, the E chord feels like a point of arrival, not a point of tension.
The Beauty of Voice Leading
The progression's power is amplified by its exceptionally smooth voice leading. The bassline's stepwise descent (A-G-F-E) provides a strong, grounding foundation. Above it, the upper voices can move in contrary motion, creating an elegant and satisfying harmonic journey. This internal logic is what makes the progression feel so inevitable and compelling.
Example of Smooth Voice Leading (SATB Style)
Notice how the bass descends while the inner voices move by small steps, creating a seamless connection between chords.
Historical Context and Musical Significance
The Andalusian cadence traces its origins to 15th-century Spanish flamenco, where it served as the harmonic backbone for cante jondo (deep song). Its distinctive i-VII-VI-V structure represents a rare example of Western harmony rooted in the Phrygian mode rather than major-minor tonality. This progression gained prominence through its association with Moorish musical traditions during Al-Andalus' cultural peak (711-1492), where Arabic maqam scales blended with Spanish folk elements. The cadence's "lament bass" (descending chromatic motion) became synonymous with emotional intensity, later adopted by Baroque composers like Monteverdi in operatic laments. Its musical significance lies in creating harmonic tension without traditional dominant function, offering a modal alternative that evokes longing and unresolved passion.
Progressive Exercises
Beginner
Practice the progression in A minor using open chords: Am (i) - G (VII) - F (VI) - E (V). Strum each chord for 4 beats at 60 BPM. Focus on smooth transitions, particularly between F and E. Use this fingering pattern:
- Am: X02210
- G: 320033
- F: 133211
- E: 022100
Intermediate
Apply the progression in different keys using barre chords. Start in B minor: Bm (i) - A (VII) - G (VI) - F# (V). Experiment with rhythmic variations like flamenco compás (12-beat cycle): [2-3-4, 6-7-8, 10-12]. Add secondary dominants before resolution (e.g., B7 before E in A minor). Notate a 16-bar sequence modulating between Am and Dm.
Advanced
Reharmonize with extended chords: Am9 (i) - Gmaj7#11 (VII) - Fmaj9 (VI) - E7b9 (V). Improvise melodic lines using A Phrygian dominant scale (A-Bb-C#-D-E-F-G) over each chord. Compose a variation incorporating Neapolitan chords (Bb major substituting for VI) and modal interchange. Analyze Paco de Lucía's "Entre Dos Aguas" for advanced rhythmic displacement techniques.
Ear Training Tips
Develop recognition through signature interval patterns: The descending semitone between VI and V (F-E in Am) creates distinctive tension. Use this four-step method:
- Bassline Isolation: Listen for descending root motion (A-G-F-E)
- Chord Quality ID: Distinguish minor tonic (i) vs. major dominant (V)
- Progression Drills: Use apps like "Functional Ear Trainer" with custom i-VII-VI-V sequences
- Transcription Practice: Study opening bars of "Hit the Road Jack" (Ray Charles) and Radiohead's "You And Whose Army?"
Sing scale degrees over backing tracks: "La" (i), "Sol" (VII), "Fa" (VI), "Mi" (V) in movable do solfège.
Common Usage in Different Genres
The cadence's adaptability appears across diverse styles:
- Flamenco: Core progression for soleá and bulerías (e.g., Camarón de la Isla's "Como el Agua")
- Classical: J.S. Bach's "Crucifixus" from Mass in B Minor (transposed to D minor)
- Rock/Metal: Led Zeppelin's "Babe I'm Gonna Leave You" (Am-G-F-E), Muse's "Plug In Baby"
- Film Scores: Hans Zimmer's "Desert Chase" in Gladiator (Phrygian interpretation)
- Jazz: Chick Corea's "Spain" bridge section (modified with extended harmonies)
- Pop: Adele's "Skyfall" chorus progression (Am-G-F-E)
Notable variation: Brazilian bossa nova often substitutes V with V7 (e.g., Carlos Santana's "Europa").
Online Resources
- 12tone YouTube analysis: "Why this progression is EVERYWHERE"
- Teoria.com Interactive Exercises: Mode Identification Drills
- David Bennett Piano: "The Andalusian Cadence in 7 Genres" (video analysis)