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  • Cadencia Frigia y Iii

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    The document provides information about musical cadences in the Phrygian mode. It lists the chord progressions i – bVII – bVI – V7 and i – bVII – iv6 – V7 as examples of Phrygian cadences. It also provides examples of songs that use this cadence, including "Hit The Road Jack" by Ray Charles. Additionally, it discusses the chords iii and III as substitutes for the tonic chord, and includes some chord progressions that use iii and III as prolongations of the dominant chord.

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    CADENCIA FRIGIA Y III.docx

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    The document provides information about musical cadences in the Phrygian mode. It lists the chord progressions i – bVII – bVI – V7 and i – bVII – iv6 – V7 as examples of Phrygian cadences. It also provides examples of songs that use this cadence, including "Hit The Road Jack" by Ray Charles. Additionally, it discusses the chords iii and III as substitutes for the tonic chord, and includes some chord progressions that use iii and III as prolongations of the dominant chord.

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    Download as DOCX, PDF, TXT or read online from Scribd
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    22 views1 page

    Cadencia Frigia y Iii

    Uploaded by

    xMondra
    The document provides information about musical cadences in the Phrygian mode. It lists the chord progressions i – bVII – bVI – V7 and i – bVII – iv6 – V7 as examples of Phrygian cadences. It also provides examples of songs that use this cadence, including "Hit The Road Jack" by Ray Charles. Additionally, it discusses the chords iii and III as substitutes for the tonic chord, and includes some chord progressions that use iii and III as prolongations of the dominant chord.

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    CADENCIA FRIGIA

    - i – bVII – bVI – V7
    - i – bVII – iv6 – V7

    EJEMPLOS
    - Hit the road Jack (Ray Charles) https://www.youtube.com/watch?v=Q8Tiz6INF7I
    - Portela na avenida (Clara Nunes) https://www.youtube.com/watch?
    v=4VeN2JirTCQ
    - Te aviso, te anuncio (Shakira) https://www.youtube.com/watch?v=8C6xDjQ66wM
    - Sofrito (Mongo Santamaría) https://www.youtube.com/watch?v=n__CQt-Xykc

    ACORDE DE iii Y III

    “Sustituto” tónica Prolongación Dominante


    V2 – iii V2 - III
    IV – iii6 – V7 iv – III6 – V7
    V4/3 – iii V4/3 – III
    Viiº6 – iii viiº6 - III IV – I6/4 – III6 – V7

    IV – iii iv - III

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