Fandango is a lively couples dance originating from Portugal and Spain, usually in triple metre, traditionally accompanied by guitars, 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 time, but later in or.
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. The 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 has been used by many European composers, and often included in stage and instrumental works. Notable examples include J. P. Rameau's "Les trois mains" ; Fandango forms #19 in the part 2 of Gluck's balletDon Juan ; in the third-act finale of Mozart's operaThe Marriage of Figaro ; in the finale of Luigi Boccherini's String Quartet Op. 40 No. 2 and Guitar Quintet G.448; Antonio Soler's Fandango for harpsichord; and the finale of Rimsky-Korsakov's Capriccio Espagnol. Luis de Freitas Branco's third movement of his "Suite Alentejana No. 1" is inspired on the fandango of the regions of Alentejo and Ribatejo of Portugal. Italian composerDomenico Scarlatti, who was influenced by Iberian folk music, had several passages reminiscents of fandango, such as in his keyboard sonata K. 492 which has been called "Fandango portugués". The piece "Fandango del Sigr. Escarlate" has been attributed to him, but some scholars dispute this claim and its similarity to fandangos.
Spanish dance
The current 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 Principality of Asturias, the Basque Country and Castile and León have preserved a more relaxed performance.
Portuguese dance
Although Spanish in origin, 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 a time, showing which 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 wordfandango is used as a synonym for "a quarrel", "a big fuss", or "a brilliant exploit".
Fandango in Veracruz
In Veracruz, Mexico, a fandango is a party where people get together to dance, to play and to sing in a community setting. As local musicians perform the Son Jarocho music, people dance "zapateado" atop a large wooden platform known as a :es:Entarimado|Tarima.
