II The New Use of Altered Tunings
At the origin of this renewal we find –to no one’s surprise- Paco de Lucía. In 1972 his record El Duende Flamenco shows signs of a revolution that is already under way. He innovates by using the rondeña tuning in a fandango called Canastera, an instrumental arrangement of a theme recorded in the same period with Camaron. The taboo is broken, for the first time a tuning other than the traditional E enters the central flamenco repertoire and becomes functional, i.e., usable in accompaniment. We have to point out, however, that Paco changes a bit the mechanics of the tonality by using a new position of the basic chord, with the fourth string left open. In this way he sets up a dissonance of a minor second (between C-sharp, fifth string, fourth fret and D, open fourth string) which is the transposition of the same dissonance in taranta (in this case between the F-sharp, 4th string, 4th fret, and G, 3rd open string).

Not long after, he continues his exploration : in the tangos, Los Pinares, the first guitar plays in A Phrygian with the cejilla at the 4th fret, while the second guitar accompanies in rondeña tuning "al aire" (open). He contributes in this way to establishing this tuning in the main styles, prompting others to follow. As early as 1976 Niño Miguel records Recuerdos, a remarkable bulería rondeña.

Paco de Lucía, again, is the author of the most innovating work in this tonality : Cueva del Gato -one of the jewels that make up the album "Almoraima". This piece begins without rhythm, like a traditional rondeña, then continues on in 3/4 time at a fast tempo with an alternation of refrain and variations. This idea would soon be imitated, with Sierra Bermeja from Enrique de Melchor, and Alameda Vieja from Moraíto. We cannot leave the rondeña without mentioning the most highly achieved composition in this palo, since Paco de Lucía : Sierra del Agua, by Vicente Amigo.

With Mi inspiración, from Paco de Lucía’s "El Duende Flamenco", the D tuning goes beyond its traditional use in novelty numbers and enters the more central repertoire, in the toque por alegrías. This experiment won’t be repeated for a while, and we would have to wait another 10 years, until Solo Quiero Caminar, for it to become established in the modern era. It is important to underline the importance of this latter recording in marking a true change in the flamenco guitar. After having enriched his musical scope through the contact with John McLaughlin, Larry Coryell, Al Di Meola and others, Paco imposed a wider approach to the toque. Through an intensive practice of improvisation he enhanced his knowledge of scales and tonalities and his knowledge of the fingerboard. He freed himself from the traditional chords patterns used in flamenco. This new liberty led him –along with introducing new instruments- to transpose certain palos out of their native tonality. He will step over this stage with the D tonality and its specific tuning. Thus he offers us two monuments, Monasterio de Sal (colombiana in D-Major) and Solo Quiero Caminar (tangos in D-Phrygian). The great possibilities brought by the new tuning are extended even further through the use of modulation. For instance the falseta coming after the first refrain in Solo Quiero Caminar, is built on a modulation that follows this chord progression :

(DM), Bf A,
Dm D7 Gm,
Dm Bf A,
Dm D7 Gm,
E7 A,
Gm7 Gfm7 F7,
Bb Ab Eb (back to D-Phrygian tonality)

We notice as well, in the introductory theme, the E-flat9 chord, an enriched form of the second degree in the Phrygian mode, and further, when the flute takes again this theme, a beautiful E-flatm9 with 6th, playing the same part. The D tuning, by its depth, enhances the luster of these astounding harmonies.

The colombiana, Monasterio de Sal is in D-Major key. Its intro in Phrygian mode leads to the refrain with this pattern : Gm6 F7M Eb7M ( A D). Here again the D tuning brings its benefits : the fingerings are easier because they belong to the natural mechanics of D, and the use of the six strings provides a comfortable volume. The major seventh chords in the above mentioned pattern are magnified by their depth as well as the accentuation of the leading note (due to its position near the trebles), on the second string :

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Paco de Lucía
by Alain Faucher
NEW

Altered Tunings in Flamenco Guitar
by Alain Faucher

The Metamorphosis of a Falseta PART ONE
By Alain Faucher

The Metamorphosis of a Falseta PART TWO
By Alain Faucher

The Alzapua: The Prodigious Thumb PART ONE
by Alain Faucher

The Alzapua: The Prodigious Thumb PART TWO
by Alain Faucher

The: Alzapua The Prodigious Thumb PART THREE
by Alain Faucher

Among the most remarkable pieces in the modern D repertoire we must point out A Mandeli (rumba by Pepe Habichuela), Cagancho (siguiriya by Rafael Riqueni), Trafalgar (bulería by Gerardo Núñez). There are many others.
But things are going fast, and soon these transversal uses won’t be enough to satisfy the vanguard tocaores. They will make another step forward by daring to invent other tunings.

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