The Andalusian Cadence
The Andalusian cadence is a four-chord descent often played as Am-G-F-E. The bass falls one scale step at a time, while the final E major chord introduces G-sharp and creates a strong return to Am.
- 4 descending roots
- Am G F E
- i bVII bVI V in A minor
same family
The progression
- i
- bVII
- bVI
- V
Hear the two ingredients
The roots descend. A-G-F-E is a complete stepwise line. That bass motion makes the sequence easy to recognise before chord quality or style enters.
The final chord is major. A natural minor would give Em. Using E major adds G-sharp, the leading tone of A, so the last chord points strongly back to Am.
The sequence combines a continuous downward line with dominant tension at its lowest point.
Two useful analyses
In an A-minor context, the chords are i-bVII-bVI-V. The major V comes from the harmonic-minor practice of raising scale degree 7.
In flamenco contexts, E may sound like the centre. The same chords can then be heard as iv-III-II-I in an E Phrygian environment, often with the tonic E chord coloured as major. The F-E root motion becomes flat 2 to 1, a defining Phrygian gesture.
Neither analysis is determined by chord symbols alone. Melody, emphasis, duration and cadential placement tell the listener whether A or E functions as the centre.
Compare the final chord
| Ending | Notes | What changes |
|---|---|---|
| Em | E G B | stays within A natural minor |
| E | E G-sharp B | adds the leading tone to A |
| E7 | E G-sharp B D | adds further dominant tension |
Play all three versions after Am-G-F. The bass line stays fixed, so the effect of G versus G-sharp is easy to isolate.
Make the mode clear with melody
Over an A-minor reading, let the melody settle on A and use G-sharp near the return from E to Am.
For an E-centred Phrygian reading, emphasise E and F. Their semitone relationship helps establish the characteristic flat-2-to-1 pull.
Avoid treating one scale as a rule for every bar. Follow the active chord tones, especially G-sharp over E major.
A four-pass exercise
- Bass onlyplay A-G-F-E evenly.
- Block chordsadd Am-G-F-E without changing the rhythm.
- Hold a common tonekeep E where possible and hear its role change.
- Add rhythmcompare a slow pulse, a repeated ostinato and a flamenco-inspired strum.
Make it yours
- Pause on F
Extending bVI increases the weight of the final semitone descent to E.
- Add E7
The chordal seventh D can fall to C when Am returns.
- Change the destination
End on E to reinforce an E-centred reading, or resolve E-Am to confirm A minor.
When it is useful
Use the Andalusian cadence when a minor-key or Phrygian section needs a strong linear engine. The descending bass supports repetition, while the final chord can either close on E or drive the loop back to Am.