Analysis of the most representative bulerias in Paco de Lucia repertoire
Paco de Lucia (b. 1947)
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.
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.
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 |
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) |
|
