rdencabezado

 

Analysis of the most representative bulerias in Paco de Lucia repertoire

Paco de Lucia (b. 1947)

ALMORAIMA

Album: Almoraima (1976) Track 1

 

Harmonic Analysis

Key

Chords used

 

 

em  (capo al 2 por medio)

Im, Im on 7maj, Im on b7, Im1st inv

 

bII

 

bIII, bIII7, bIII7maj

 

IVm, IVmon b2, IVm7, IVm7,9
V, V7, V7b9, V 7b9 3rd inv

 

bVI, bVI7, bVI4sus, bVI11+, bVI6, bVI2nd inv, bVIon 7maj

 

bVII, bVII7, bVII9, bVII7,9, bVI2nd inv, bVII7, 9 2nd inv, natVII

 

Auxiliar Dominants: V/bIII, V/IV, V/V, V/bVI, V/bVII

 

Substitute Dominants: none

 

General Analysis

 

Min

Issue

 

 

0:02

Tapado as rhythmic reference

0:19

Use of chord IVm

0:30

Electric bass

1:02

Double alzapúa with tapping A

1:07

Tapado and hand claps together (arrangement)

1:22

Inclusion of Arabic Lute, percussion and congas together without guitar

1:49

Use of the chord Im1st inv

1:58

Use of a particular phrase as a remate over the chord V7b9

2:20

Rasgueo P up – A P down

2:29

Use of the interval nat6 over the degree V7b9

2:42

Chord progression auxV/V going to bVII

2:46

Use of chord auxV/bVI7 going to bVI7

2:58

Use of the degree IVm as a substitute for the degree bVI7

3:05

Rasgueo P up – A I down

3:28

Chord progression auxV/IV to IVm

3:31

Rasgueo  I up – A I down

3:41

Chord progression bVI going to the auxV/V then to IVm onb2
to V7b9

3:53

Use of chord bII

 

NOTE: From now on technique innovations that were already mentioned in Almoraima analysis will not be further mentioned although Paco de Lucia continued to use them through his whole repertoire.

GITANOS ANDALUCES

Album: Castro Marin (1981) Track 2

 

Harmonic Analysis

Key

Chords used

 

 

fm (capo al 3 por medio)

Im, Im7, Im9, I(ionic), Im2nd inv

 

bII1st inv, bII7maj, 1st inv

 

bIII, bIII7, bIII1st inv, bIII7maj, bIIIm, bIIIm6

 

IV(ionic), IV7, IVm, IV7maj, IV7maj 4+, #IV, #IV1st inv, #IV4+

 

V7, V7b9, V 7 3rd inv, V7 on b2, V7 on 7maj, Vm

 

bVI, bVIm7, bVI7, bVI7maj, bVIon nat7, bVIsus, bVI11+, bVI7,9,11+, bVI7,9,11+ 3rd inv, bVI 9+, bVI9, bVI 7,9, bVI 7 2nd inv, natVIm7b5 , natVI5+

 

bVII, bVII7, bVII9, bVII7,9, bVII2nd inv, natVII

 

Auxiliary Dominants: V/bIII, V/IV, V/V, V/bVI, V/bVII

 

Substitute Dominants: V/bIII, V/bVI

 

General Analysis

 

Min

Issue

 

 

0:02

Tapado and tapping A with flesh

0:24

Use of the chord IV7maj 4+

0:32

Use of the chord IV (ionic) being described melodically with the ionic scale on the context of a minor key

1:51

Use of the chord  #IV, #IV4+

1:52

Use of the interval 9+ on a melody over the degree #IV going to V7b9

2:03

Use of the chord natVI5+

2:09

Use of the chord bVIon 7maj

2:32

Use of the subs V/bIII

2:45

Use of  bVI7 2nd inv and a melody using a nat6 and b2

3:00

Use of chord bII1st inv

3:19

Melody with a nat7 over the degree V7b9

3:56

Chord V7 on b2 going to b6 solving on V7b9

4:50

Chord I(ionic) and  auxV/V3rd inv

4:51

Tapping I down

NOTE:  General Analysis will be omitted  for practical purposes and to avoid repetition.

 

LA TUMBONA

Album: Solo quiero caminar (1981) Track 2

 

Harmonic Analysis

Key

Chords used

 

 

f#m (capo 4 por medio)

Im, Im7,Im9

 

bII1st inv

 

bIII, bIII7, bIII7,9, bIII7,13, bIII7maj

 

IV, IVm7, IVaug, IVm7,9, #IV

 

V7b9, V7b9 3rd inv, Vm, Vm7

 

bVI7, bVI3rd inv, bVI7maj, bVIm, bVI9+, bVI11+, bVI 9,11+, bVI4sus

 

bVII7, bVII3rd inv, natVII

 

Auxiliary Dominants: V/IV, V/bVI, V/bVII

 

Substitute Dominants: V/IV

 

NA ES ETERNO

Album: Calle Real (1983) Track 6

Harmonic Analysis

Key

Chords used

 

 

gm (capo al 5 por medio)

I, I1st inv (min 3:43), Im, Im1st inv

 

bII1st inv

 

bIII, bIII7, bIII1st inv, bIII7maj

 

IVm, IVm7, IVmon b2 (min 4:52)

 

V7b9, V7b9 3rd inv, V7 4th inv

 

bVI, bVIm (min 2:41), bVI2nd inv, bVI7, bVI7 2nd inv, bVI7maj, bVI7,9, bVI6, bVI7,9, 11+, bVI6,4+ , bVI4+, bVI7,9,11+ 2nd inv

 

bVII, bVII7, bVII7,9, bVII2nd inv, bVIIm (min 2:06)

 

Auxiliary Dominants: V/bIII (min 1:42),  V/IV (min 3:51), V/bVI (min 2:07), V/bVII (min 2:01)

 

Substitute Dominants: V/bIII (min 1:43), V/bVI (min 4:22), V/bVII (min 2:59)

 

 

 

Part 2 top Part 4

 

 

 

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