User:Kingdavid4848/sandbox

Origins
The Andalusian cadence known today, using triads, may not have occurred earlier than the Renaissance, though the use of parallel thirds or sixths was evident as early as the 13th century. One of the earliest uses of this chord sequence is seen in Claudio Monteverdi's choral work, Lamento della Ninfa. The piece begins in A minor and clearly uses the cadence pattern as a basso ostinato - resulting in Amin - Emin - Fmaj - E7. This work was first published in the Eighth Book of Madrigals (1638).

The progression resembles the first four measures of the 15th century Passamezzo antico; i – ♭VII – i – V. The use of the ♭VI chord may suggest a more recent origin than the Passamezzo antico since the cadences i – ♭VII and ♭VII – i were popular in the late Middle Ages and early Renaissance, (see also double tonic) while ♭VII – ♭VI arose as a result of advancement in music theory. However, the absence of the leading tone from the ♭VII chord suggests that the progression originated before the tonal system in the modal approach of the time of Palestrina, where the tonic must be approached from chord V whereas typical Baroque style would have avoided the flat VII and introduced dominant chords (♮VII or V chords, to form cadences resolving upon a i chord).

Popular Music

The "Andalusian Cadence" is featured in the chorus of Michael Jackson’s “Smooth Criminal,” and it also builds the basis for the middle section in Paco De Lucia’s signature track, “Entre dos Aguas,” where this progression is played in the key of E minor.

In addition, the I-♭VII-♭VI-V chord progression is the primary structure of "Hit the Road, Jack."

Modal vs. Tonal

Another modification gives the progression a more characteristically modal sound by simply replacing the VII with a vii chord. This alters the progression slightly; Amin – Gmin – Fmaj – E7. You can hear this in a tune by DiMeola / McLaughlin / De Lucia called “Chanela”. Although this example is in the key of B minor, the applied principle is the same.

Dominant chord substituted
A most unusual way of altering the cadence can be heard in Pink Floyd's "Comfortably Numb" (1979), where the "V" chord is skipped for a "iv". It is as follows: i – ♭VII – ♭VI (– ♭VI2) – iv (and back to "i"). The resulting progression is on the edge between tonal and modal, where the subtonic doesn't change back into a leading-tone, but the obtained cadence is suitable for tonality (called plagal or backdoor).

Modern Usage
The integration of the traditional Andalusian cadence and Renaissance-style practices of musical composition and song are evident in modern musical genres such as rock and pop. Flamenco music, a style of music and dance that was popularized in the Andalusian regions of Spain, has also been incorporated into modern pop and rock music. Specific examples include the usage of the cadence in "La leyenda del tiempo" by Camarón de la Isla. Other recent uses of the cadence are apparent in flamenco inspired rock songs such as "Ya no me asomo de la reja", 'La que vive en la Carrera", and the bassline of "Negras las intenciones".