Fandango is a lively couples dance from Iberia, usually in triple metre, traditionally accompanied
by guitars and castanets or hand-clapping.
Fandango can both be sung and danced.
Sung fandango is usually bipartite: it has an instrumental introduction followed by "variaciones".
Sung fandango usually follows the structure of "cante" that consist of four or five octosyllabic
verses or musical phrases.
Occasionally, the first copla is repeated.
The meter of fandango is similar to that of the bolero and seguidilla.
It was originally notated in 6/8 time, but later in 3/8 or 3/4.
Origins The earliest fandango melody is found in the
anonymous "Libro de diferentes cifras de guitarra" from 1705, and the earliest description of
the dance itself is found in a 1712 letter by Martín Martí, a Spanish priest.
Fandango's first sighting in a theatrical work was in Francisco de Leefadeal's entremés
"El novio de la aldeana" staged in Seville, ca.
1720.
By the late 18th century it had become fashionable among the aristocracy and was often included
in tonadillas, zarzuelas, ballets and operas, not only in Spain, but also elsewhere in Europe.
Widely varying claims have been made about the origin of fandango: its relation to the
soleá, jabera and petenera; to the Andalusian malagueña, granadina, murciana and rondeña;
to the canario and gitano; to the jota aragonesa.
Classical music The form of Fandango have been used by many
European composers, and often included in stage and instrumental works.
Notable examples include J.P.Rameau's "Les trois mains"; Domenico Scarlatti's "Fandango
portugués" and "Fandango del SigR Escarlate".
Fandango forms #19 in the part 2 of Gluck's ballet Don Juan; it appears also in the third-act
finale of Mozart's opera Le nozze di Figaro; in the finale of Luigi Boccherini's String
Quartet op.40 no.2; Antonio Soler's Fandango for harpsichord; Luis de Freitas Branco's
third movement of his "Suite Alentejana no.
1" is inspired on the popular fandango of the regions of Alentejo and Ribatejo.
Spanish dance The current 3/4 pattern of the fandango, its
distinctive progression, lyrics with octosyllabic verses and the use of castanets and guitars
are well-documented from the 18th century.
The fandangos grandes are normally danced by couples, which start out slowly with gradually
increasing tempo.
Many varieties are derived from this one.
The fandanguillos are livelier, more festive derivations of fandangos.
Some regions of Spain have developed their own style of fandangos, such as Huelva and
Málaga.
Northern areas such as the Asturias Principality of Asturias, the Basque Country and Castile
and LeónCastile have preserved a more relaxed performance.
Portuguese dance Fandango is one of the main folk dances in
Portugal.
The choreography is quite simple: on its more frequent setting two male dancers face each
other, dancing and tap-dancing one at each time, showing which one has the most lightness
and repertoire of feet changes in the tap-dancing.
The dancers can be boy and girl, boy and boy or rarely two girls.
While one of the dancers dances, the other just "goes along".
Afterwards, they "both drag their feet for a while" until the other one takes his turn.
They stay there, disputing, seeing which one of them makes the feet transitions more eye-catching.
The "fandango do Ribatejo" refers specifically the form of fandango practiced in Ribatejo,
Portugal.
The dance is usually performed by two Campinos.
Figurative meaning As a result of the extravagant features of
the dance, the word fandango is used as a synonym for "a quarrel," "a big fuss," or
"a brilliant exploit."
References ^ Blatter, Alfred.
Revisiting music theory: a guide to the practice, p.28.
ISBN 0-415-97440-2.
^ ‘La jota y el fandango’, La correspondencia musical, iv/198, 2–3
Bibliography Diccionario de la lengva castellana [pubn
of the Real Academia Español] P. Minguet e Irol: Breve tratado de los pasos
de danzar a la española que hoy se estilan en seguidillas, fandangos y otros tañidos
F.M.
López: : Variaciones al Minuet afandangado E-Mn M.1742), ff.1–6
M.L.E.
Moreau de Saint-Méry: Danse B. Foz: Vida de Pedro Saputo
E. Calderón: Escenas andaluzas E. Ocón y Rivas: Cantos españoles
M. de Larramendi: Corografía o descripción general de la muy noble y muy real Provincia
de Guipúzcoa ‘La jota y el fandango’, La correspondencia
musical, iv/198, 2–3 J. Ribera y Tarragó: La música de la jota
aragonesa: ensayo histórico M.N. Hamilton: Music in Eighteenth-Century
Spain P. Nettl: The Story of Dance Music
B. Pottier: ‘A propos de fandango’, Les langues néo-latines, xlii, 22–5
A. Gobin: Le flamenco J. Crivillé i Bargalló: El folklore musical
M.R.
Alvarez Martínez: ‘Dos obras inéditas de Domenico Scarlatti’, RdMc, viii, 51–6
E. Osorio Bolio de Saldívar: ‘El códice Saldívar: una nueva fuente de música para
guitarra’, España en la música de occidente: Salamanca 1985, 87–91
R. Puyana: ‘Influencias ibéricas y aspectos por investigar en la obra para clave de Domenico
Scarlatti’, ibid., 39–49 J. Blas Vega: ‘Fandango’, Diccionario
enciclopédico ilustrado del flamenco, 284–5 J. Etzion: ‘The Spanish Fandango from Eighteenth-Century
“Lasciviousness” to Nineteenth-Century Exoticism’, AnM, xlviii, 229–50
J.-M. Sellen: ‘Langage du fandango: de la poétique musicale au sens poétique du cante
jondo’, AnM, 1, 245–70 External links
Flamenco Institute Flora Albaicín.
Flamenco dance company and academy.
Flamenco Forms