Master E Phrygian and the Andalusian Cadence for Flamenco & Latin Guitar (2025)

Picture this: A single strum evokes centuries of Spanish music, blending fierce passion with melodic mystery. That signature sound—haunting, percussive, unmistakable—spins from just a handful of notes and a classic progression: E Phrygian meets the Andalusian cadence. For every guitarist drawn to authentic flamenco or Latin guitar, this pairing is home base. It's where drama, brilliance, and groove all collide.

The E Phrygian flamenco guitar scale and Andalusian cadence aren't just theory—they're the foundation of everything from deep soleá to fiery rumba. This guide doesn't just explain the notes or chords separately. Instead, it shows how to make them work together, unlocking real-world patterns, progressions, and improvisation tricks that turn basic shapes into expressive, pro-level playing. Get ready to hear the real thing under your fingers.

E Phrygian Flamenco Guitar Scale: Foundations and Patterns

What is the E Phrygian Scale in Flamenco?

The classic E Phrygian scale uses these notes: E, F, G, A, B, C, and D. In flamenco, this becomes home base—por arriba. The magic is in the intervals: natural third (G), natural seventh (D). But here’s the kicker: real flamenco almost always bumps that G to G♯ over the E chord, adding tension and release, a sound most players instantly recognize as "Spanish." Unlike the natural minor, E Phrygian’s flat second (F) delivers that unmistakable snap right out the gate. Its interval pattern: Root – b2 – b3 – 4 – 5 – b6 – b7. That explains why licks and melodies in forms like soleá, bulería, and fandango sound dramatically different from standard minor.

This mode isn’t just a scale choice—it’s a way to color every chord and melodic line. Flamenco tradition treats E as the tonic (home), F as dominant (push), Am subdominant (support), and G as mediant (leading tone), as described by Manolo Sanlúcar.

Movable E Phrygian Scale Patterns

Most guitarists start E Phrygian in the open position, but you'll get more mileage learning movable shapes up the fretboard. Here are two essential patterns:

• Open position: E (0), F (1st fret), G (3rd fret) on low E string. Use standard flamenco fingering—index, middle, and pinky—to stay fluid.
• Movable 5th-string shape: Play E (7th fret, A string), F (8th), G (10th), then ascend the scale across adjacent strings. This pattern lets you transpose Phrygian flavor to any key by shifting up or down.

Practicing both gives instant access to the mode across all palos.

Por Arriba: The Flamenco Home Base

Por arriba means “up top” and, in flamenco, always points to E Phrygian—where most palos like soleá, bulería, and fandangos del Huelva start and end. According to Jon Wood and traditional guides, por arriba puts all the essential open strings and classic chord shapes right under the fingers. That’s why so many flamenco pieces live in this position.

• It anchors the Andalusian cadence (Am–G–F–E) right at the nut.
• Lets you use strong, percussive open strings for rasgueado.
• Supports signature falsetas and melodic runs smoothly integrated with compás (flamenco rhythm cycles).

Once por arriba feels like home, every twist of the E Phrygian scale and Andalusian cadence unlocks with much less struggle.

The Andalusian Cadence in Dm: Chord Progression and Voice Leading

How to Play the Andalusian Cadence on Guitar

Most flamenco progressions rest on the Andalusian cadence—four descending chords with a hypnotic pull: Am–G–F–E in E Phrygian or Dm–C–Bb–A in D minor. On the guitar, it looks like this:

• Am: x02210
• G: 320003 or 355433
• F: 133211 (barre) or x33211 (simpler)
• E: 022100 (for E Phrygian cadence)

To make it pop with flamenco energy, keep the right hand brisk and emphasize downstrokes. Each chord flows into the next by step, which keeps tension building, especially when repeating for compás cycles.

Modal vs Tonal: Why the Cadence Feels Different in Flamenco

The Andalusian cadence is modal to its core. In E Phrygian, those chords (Am–G–F–E) aren’t a minor progression—they’re a descending line built from stacked scale tones. As Musicogram points out, the stepwise bass descent (A–G–F–E) forms a “descending tetrachord,” a feature found not just in flamenco but Arabic and Sephardic traditions. Tonal versions (in D minor: Dm–C–Bb–A) feel more classical, with strong resolution at the end. Flamenco-style playing leans harder into open strings, often adds ambiguous thirds (using both G and G♯ in E), and rarely lands exactly "in key," sustaining modal drama.

• Modal: E Phrygian treats E as tonic; F, G, Am as modal functions—never fully "minor" or "major."
• Tonal: Classical progressions treat the root as a proper minor chord with regular V-i resolution.

Flamenco’s freedom lets you add or subtract notes, include extra open strings, and twist harmony mid-phrase—part of what keeps the Andalusian cadence forever fresh on stage or in practice.

For a deeper look at the origins and structure of the Andalusian cadence, Wikipedia’s guide offers foundational insight.

Bridging Scale and Chords: Connecting E Phrygian Patterns to the Andalusian Cadence

Improvise Over the Andalusian Cadence Using E Phrygian

The trick to real flamenco improvisation? Don’t just run scales—target chord tones as the progression moves. Over Am–G–F–E in E Phrygian:

• Am: Emphasize A, C, E
• G: Target G, B, D
• F: Hit F, A, C
• E: Land on E, G♯ (or G for that ambiguous feel), B

Start by playing a simple E Phrygian pattern up and down, then—when the chord changes—pause on the chord's root or third. Right away, the solo connects to the harmony. Here’s a basic exercise:

1. Strum Am, then play A–B–C–E on the E Phrygian scale.
2. Change to G, shift line to G–A–B–D.
3. Repeat, letting fingers "land" on each chord's color note.

Tab Example (over Am–G–F–E):

e|-------------------0---1---3---|
B|------------1--3---------------|
G|------0--2---------------------|

Mix phrases from the open and movable positions for more variety. This style of "melodic targeting"—aiming for notes in each chord—keeps everything musical and rooted in tradition.

Voice Leading and Mixed-Third Coloration

In true flamenco, chords often blur the lines between major and minor. The E chord, for example, will include both G (natural third, modal color) and G♯ (harmonic minor, tonal pull), a duality called "mixed-third coloration." As Manolo Sanlúcar and Jon Wood both emphasize, this is where flamenco gets its tension. Sliding from G to G♯ before resolving to E in a melody or arpeggio happens constantly—and it’s what signals “flamenco” to the ears.

Practical example: While playing a falseta over the cadence, bend a G note on the third string up to G♯ just as you land on the E chord, or play both together as a grace note. This tiny move transforms a basic run into something unmistakably Spanish.

For an in-depth breakdown of por arriba and hybrid Phrygian techniques, check Jon Wood’s expert analysis: What Makes Flamenco Work.

Flamenco Meets Latin: Hybrid Harmony and Real-World Applications

Latin Guitar and the Andalusian Cadence

The reach of the Andalusian cadence spreads far beyond flamenco. Latin guitar styles—think bolero, bossa, rumba—blend E Phrygian flavor with lush chords and rhythmic grooves. In songs like "Mediterranean Sundance" or "Entre dos Aguas," you'll hear the same minor–♭VII–♭VI–V movement, but with jazzier voicings or a syncopated swing.

• Latin progressions often add 9ths or sus chords (Am9, G13, Fmaj7) for color.
• Rhythmic emphasis shifts: Bossa uses fingerstyle, rumba locks to percussive strumming.
• E Phrygian improvisation sits right on top—phrased melodies and falsetas translate across genres.

Bringing the cadence to life in a Latin context often means loosening strict flamenco compás—experiment with fingerpicking and smart reharmonization to build your own sound.

Hybrid Theory: Harmonic Minor and Borrowed Chords

Classic flamenco rarely stays in one lane. Players regularly weave E harmonic minor (E, F♯, G, A, B, C, D♯) into E Phrygian, especially at phrase endings or over the E chord. This hybrid theory mixes tension and drama, letting the soloist push and pull between dark and bright. Jon Wood’s research points out that the D♯ in harmonic minor sparks “bimodal” tension when resolving back to E’s open strings—a move that’s everywhere in modern flamenco solos.

Borrowed chords—like Cmaj7 or Bb7 in D minor Andalusian circles—show up in Latin jazz and fusion, stretching traditional borders. Advanced players experiment by starting cadences in Phrygian, then shifting mid–loop to harmonic minor or even a parallel major for dramatic impact.

For technical insights on hybrid harmony in this context, Musicogram’s analysis of the Andalusian cadence breaks down examples from both flamenco and Latin classics.

Advanced Tips: Ornamentation, Rasgueado, and Performance Practice

Ornamenting the E Phrygian Scale

The real-world flamenco sound lives in the details. Adding flourishes—trills, mordents, fast pull-offs, slides—brings E Phrygian melodies to life. Here’s how:

• Use hammer-ons between F and G on the high E string for classic melodic snaps.
• Trill rapidly between E and F (open to 1st fret) for an urgent, vocal effect.
• Slip quick slides from D up to E (2nd to open on 4th string) when resolving a phrase.

Stacking these ornaments into scale runs replicates falseta phrasing—highly expressive and dense with energy.

Rasgueado and Rhythmic Drive in the Andalusian Cadence

Every flamenco progression needs some percussive fire. Right-hand rasgueado—the signature strumming technique—makes the Andalusian cadence pop. Try this basic rasgueado pattern:

• Start with all fingers touching the palm.
• Snap pinky, ring, middle, then index outward in a fast cascade.
• Anchor the thumb on the low E for control.
• Accent the first beat of each chord change for dynamic punch, then let upstrokes breathe between downstroke bursts.

For compás-intensive styles like soleá, layer golpe (tapping the top of the guitar) into the cadence cycles. Watch performances by Paco de Lucía or Tomatito for right-hand inspiration—these details separate hobbyists from seasoned flamenco players fast.

Conclusion

The E Phrygian scale and the Andalusian cadence form the heart of both flamenco and Latin guitar—a combination heard in countless classics and modern improvisations alike. Mastering their integration isn’t just about learning shapes or memorizing progressions. It’s about understanding the interplay of melody and harmony, bringing voice-leading, ornamentation, and rhythmic nuance to every phrase. When the scale and cadence work together, guitarists access an entire world of expressiveness and cultural depth, from traditional palos to fresh fusion hybrids. Focused practice with movable scale patterns, right-hand strategies, and genre-spanning cadences builds fluency that translates directly to real playing, on stage or at home. The next step? Dive deeper into these patterns, continue exploring falsetas and hybrid harmony, and let the signature sound of E Phrygian and the Andalusian cadence shape your own musical voice.

Frequently Asked Questions

Q What is the E Phrygian scale in flamenco guitar?

The E Phrygian scale used in flamenco guitar consists of the notes E, F, G, A, B, C, and D. Unlike natural minor, its flat 2nd (F) and natural 3rd (G) give it a unique, exotic flavor. Flamenco often sharpens G to G♯ on the E chord for dramatic effect, blending melody and harmony in a way that's core to the style.

Q How do you play the Andalusian cadence on guitar?

The Andalusian cadence is a descending four-chord progression—Am, G, F, E—usually played in open position for flamenco and Latin music. Use standard fingerings and emphasize brisk, percussive right-hand strumming to capture its characteristic sound and rhythmic drive. Variations exist in other keys and positions.

Q Why does flamenco use both G and G♯ in E Phrygian?

Flamenco uses both G (natural third) and G♯ (raised third) in E Phrygian to create tonal ambiguity and tension, especially over the E chord. This "mixed-third" coloration distinguishes flamenco's dramatic, unresolved feel from typical Western minor scales, offering expressive melodic and harmonic choices.

Q How do flamenco and Latin guitarists connect scales and chords?

Flamenco and Latin guitarists map scale notes directly to chord tones in real time, targeting roots, thirds, or fifths as chords change. They add ornamentation and rhythmic accents to link melodies seamlessly with the underlying Andalusian cadence, creating improvisations that always reinforce the harmony.