Today’s Chord in the Flamenco Cadences
The network’s pick for today, read against the cadence of every palo this site declares, in whichever key puts it there.
Today’s shared chord, read by its third as a major, minor or dominant seventh chord, then found in the cadence of the soleá, the alegrías, the bulerías and the seguiriya: which chord of the cadence it is, in which key, and whether that key is the one the palo’s position opens in.
How the reading works
Every Warrior site draws the same chord each day from one shared seed, and the instrument sites show where the fingers go. Here the pick is looked for in the cadence of every palo this site declares. Those cadences are written in three kinds of chord, major, minor and the dominant seventh, so the pick is read by its third: a major third with a flat seventh is a dominant seventh, a major third alone is major, a minor third is minor. A richer chord such as a major seventh is read by that core, and the page says what it leaves out. A suspended chord has no third at all, and no chord of any declared cadence is suspended, so on those days the pick lands in none of them.
One chord, several keys
A cadence is a fixed shape of chords that can start on any note, so the same chord turns up in it in more than one key. The soleá comes home through four chords, and a major chord can be the second, the third or the fourth of them, each time in a different key. Under today’s pick, each place it lands is written out as the whole cadence in that key, with the chord marked, and with the key the palo’s position opens in, with no capo, named beside it. The counts of the cycle, and the accents on them, do not change with the key: every palo’s compás is the same whichever chord is on it.
Where the pick comes from
One seed, shared by every site in the network, turning over once a day. Nothing is personalised and nothing is chosen by hand: the date decides, the same for everyone. The calculation runs in your browser against your own local date, which is why this text describes the method rather than naming a chord; if it is still yesterday where you are, you are looking at yesterday’s chord, and that is the right one.