Spanish Dance and Music: Fandango Spanish Dance and Music Home Spanish Dance and Music Fandango Fandango The Fandango was developed in the 18th Century as a dance for couples. You can sing or dance the Fandango and it is normally accompanied by a guitar and either castanets or hand-clapping ('Palmas'). Fandango History This lively folkdance began life in Andalusia in Spain. The earliest known record of the melody used for the Fandango is in the 'Libro de diferentes cifras de guitarra' (Book of Different Guitar Melodies) in 1705. The dance itself was first documented by a Spanish priest in 1712. However, experts of the Fandango are in disagreement over the dance's true origins. On one side, the most prominent theory is that the Fandango evolved from the Andulusian dances such as the Malagueña or Murciana. Other says that the Fandango could be of a Moorish background whereas others believe that it could be derived from dances in Latin America and the West Indies.

The Spanish dance made it to the stage in 1720, as part of the 'Entremés El novio de la aldeana' by Francisco de Leefadeal. This theatrical work was staged in the Spanish city of Seville. The Fandango was also incorporated into many classical music pieces by various composers. 'Les Trois Mains' by J.P.Rameau and 'Fandango Portugués' by Domenico Scarlatti are just a few examples. The increasing popularity of the Fandango meant that it became popular among the upper classes in Spain. Both the aristocracy in Spain and in Europe found the Fandango extremely fashionable at this time. The Bolero and the Fandango are similar in the fact that they have similar metres, hence adding to the theory that it was developed in Spain and not Latin America or the West Indies. Originally the Fandango was notated in 6/8 but later it came to be written in 3/8 and 3/4, the same as the Bolero.

The Fandango music of the 18th Century is characterised by the lyrics which are made up of eight syllable lines, the use of castanets and the descending pattern of the chords (A minor - G - F - E). The singing in a Fandango follows a 'cante' structure and is often bipartite. It consists of four of five verses of eight syllable lines. Occasionally the first verse is repeated. The Fandango is a dance which expresses the passion of the dancers. The two dancers often taunt each other by following their steps or by using gestures. A Fandango between two men is often a kind of dance-off, a competition of the dancers' skills. In this version, the first dancer creates the rhythm and steps and the second dancer then uses that rhythm to perform a more elaborate dance. The word Fandango is therefore synonymous with 'a quarrel' or 'an argument'. As it was so popular, many variations of the Fandango began to spring up. The 'Fandangos grandes' or Big Fandangos were performed by couples and often started slowly and gradually increased in speed.

The 'Fandanguillos' or Little Fandangos, in comparison, were much more lively and festive. Each region in Spain also developed their own style of the Fandango dance. It was not long before there was a Huelva, the version of the Fandango in the city of Huelva, and the Málaga, the version in the city of Malaga. The Fandango also has a counterpart in Portugal where it is considered to be one of the Portuguese's most important folk dances as well. Even Spanish colonies formed their own version of the Spanish dance. In the Philipines, which used to be a Spanish colony , the Fandango lives on in the Philipino dance 'Pandanggo sa ilaw' (or Fandango with lights). In this dance, the dancers don't use castanets but instead carry candles in glasses, which they occasionally swing around in the air. © Spanish Arts 2011 Flamenco - Its origin and evolution Flamenco - Its Origin and evolution Many of the details of the development of flamenco are lost in Spanish history. There are several reasons for this lack of historical evidence: 1.

Flamenco sprang from the lower levels of Andalucian society, and thus lacked the prestige of other art forms among the middle and higher classes. Flamenco music also slipped in and out of fashion several times during its existence. 2. The turbulent times of the people involved in flamenco culture. The Moors, the Gitanos and the Jews were all persecuted, and the Moors (moriscos) and Jews were expelled by the Spanish Inquisition in 1492. Many of the songs in flamenco still reflect the spirit of desperation, struggle, hope, and pride of the people during this time of persecution. 3. The Gitanos have been fundamental in maintaining this art form, but they have an oral culture. Their songs were passed on to new generations by repeated performances within their social community. The non-gypsy Andalucian poorer classes, in general, were also illiterate. 4. There was a lack of interest from historians and musicologists.

"Flamencologists" have usually been flamenco connoisseurs of diverse professions (a high number of them, like Fï¿½lix Grande, Caballero Bonald or Ricardo Molina, have been poets), with no specific academic training in the fields of history or musicology. They have tended to rely on a limited number of sources (mainly the writings of 19th century folklorist Demï¿½filo, notes by foreign travellers like George Borrow, a few accounts by writers and the oral tradition), and they have often ignored other data. Nationalistic or ethnic bias has also been frequent in flamencology. This started to change in the late 1970's and 1980s, when a growing number of musicologists and historians began to carry out more rigorous research. There are questions not only about the origins of the music and dances of flamenco, but also about the origins of the very word flamenco. Whatever the origins of the word, in the early 19th century it began to be used to describe a way of life centered around this music and usually involving Gypsies.

In his 1842 book Zincali, George Borrow writes that the word flamenco is synonymous with "Gypsy". Blas Infante, in his book Orï¿½genes de lo flamenco y secreto del cante jondo, controversially argued that the word flamenco comes from Hispano-Arabic word fellahmengu, which would mean "expelled peasant". Yet there is a problem with this theory, in that the word is first attested three centuries after the end of the Moorish reign. Infante links the term to the ethnic Andalucians of Muslim faith, the Moriscos, who would have mixed with the Gypsy newcomers in order to avoid religious persecution. Other hypotheses concerning the term's etymology include connections with Flanders (flamenco also means Flemish in Spanish), believed by Spanish people to be the place of origin of the Gypsies. Background For a complete picture of the possible influences that gave rise to flamenco, attention must be paid to the cultural and musical background of the Iberian Peninsula since Ancient times.

Long before the Moorish invasion in 711, Visigothic Spain had adopted its own liturgical musical forms, the Visigothic or Mozarabic rite, strongly influenced by Byzantium. The Mozarabic rite survived the Gregorian reform and the Moorish invasion, and remained alive at least until the 10th or 11th century. Some theories, started by Spanish classical musician Manuel de Falla, link the melismatic forms and the presence of Greek Dorian mode (in modern times called ï¿½Phrygian modeï¿½) in flamenco to the long existence of this separate Catholic rite. Unfortunately, owing to the type of musical notation in which these Mozarabic chants were written, it is not possible to determine what this music really sounded like, so the theory remains unproven. Moor is not the same as Moslem. Moor comes from the Latin Mauroi, meaning an inhabitant of North Africa. The Carthaginians, for instance, came from North Africa.

Moorish influence in the peninsula goes back thousands of years, but it was the Islamic invasion, by largely Berber armies in 711, that determined the main musical influences from North Africa. They called the Iberian Peninsula Al-Andalus, from which the name of Andalusia derives. The Moorish and Arab conquerors brought their musical forms to the Peninsula, and at the same time, probably gathered some native influence in their music. The Emirate, and later Caliphate of Cï¿½rdoba became a center of influence in both the Muslim and Christian worlds and it attracted musicians from all Islamic countries. One of those musicians was Zyriab, who imported forms of Persian music, revolutionized the shape and playing techniques of the Lute (which centuries later evolved into the vihuela and the guitar), adding a fifth string to it, and set the foundations for the Andalusian nuba, the style of music in suite form still performed in North African countries. The presence of the Moors was also decisive in shaping the cultural diversity of Spain.

Owing to the extraordinary length of the Reconquesta started in the North as early as 722 and completed in 1492 with the conquest of Granada, the degree of Moorish influence on culture, customs and even language varies enormously between the North and the South. Music cannot have been alien to that process. While music in the North of the Peninsula has a clear Celtic influence which dates to pre-Roman times, southern music is certainly reminiscent of Eastern influences. To what extent this Eastern flavor is owed to the Moors, the Jews, the Mozarabic rite (with its Byzantine influence), or the Gypsies has not been clearly determined. During the Reconquest, another important cultural influence was present in Al-Andalus: The Jews. Enjoying a relative religious and ethnic tolerance in comparison to Christian countries, they formed an important ethnic group, with their own traditions, rites, and music, and probably reinforced the middle-Eastern element in the culture and music forms of Al-Andalus. Certain flamenco palos like the Peteneras have been attributed a direct Jewish origin. Andalusia after the Reconquest: social environment and implications on music.

The 15th century marked a small revolution in the culture and society of Southern Spain. We must highlight the following landmarks, all with future implications on the development of flamenco: first, the arrival of nomad Gypsies in the Iberian Peninsula in 1425. Later on, the conquest of Granada, the discovery of America and the expulsion of the Jews, all of them in 1492. In the 13th century, the Christian Crown of Castile had already conquered most of Andalusia. Although Castilian kings favored a policy of repopulation of the newly conquered lands with Christians, part of the Muslim population remained in the areas as a religious and ethnic minority, called mudï¿½jares. Granada, the last Muslim stronghold in the Iberian Peninsula, fell in 1492 when the armies of the Catholic Monarchs Ferdinand II of Aragon and queen Isabella of Castile invaded this city after about 800 years of Moslem rule. The Treaty of Granada guaranteed religious tolerance, and this paved the way for the Moors to surrender peacefully.

Months after, the Spanish Inquisition used its influence to convince Ferdinand and Isabella, who were political allies of the Church of Rome, to break the treaty and force the Jews to either convert to Christianity or leave Spain. The Alhambra decree of March 31, 1492 ordered the expulsion of all non-converted Jews from Spain and its territories and possessions by July 31, 1492, on charges that they were trying to convert the Christian population to Judaism. Some chose to adopt the Catholic religion (Conversos), but they often kept their Judaic beliefs privately. For this reason, they were closely watched by the Spanish Inquisition, and accusations of being false converts often lead them to suffer torture and death. In 1499, about 50,000 Moriscos were coerced into taking part in mass baptism. During the uprising that followed, people who refused the choices of baptism or deportation to Africa were systematically eliminated. What followed was a mass exodus of Moslems, Sephardi Jews and Gitanos from Granada and the villages, into the surrounding Sierra Nevada mountain region (and its hills) and the rural country.

Many Moslems, now known as Moriscos, officially converted to Christianity, but kept practicing their religion in private and also preserved their language, dress and customs. The Moriscos rose up on several occasions during the 16th century, and were finally expelled from Spain, their rightful homeland, at the beginning of the 17th century. The conquest of Andalusia implied a strong penetration of Castilian culture in Andalusia, which surely influenced the music and folklore. The expulsion of the Sephardi Jews and Moriscos could have led to a weakening of middle-Eastern influence on Andalusian culture. However, during the 15th century groups of Roma people (gypsies), known as Gitanos in Spain, entered the Iberian Peninsula. At the beginning, they were well tolerated. The Spanish nobles enjoyed their dances and music, and they were regularly employed to entertain guests at private parties. The Gypsies, therefore, were in touch (at least geographically) with the Morisco population until the expulsion of the latter in the 16th century.

According to some theories, suggested by authors like George Borrow and Blas Infante and supported by other flamenco historians like Mairena and Molina, many Moriscos even joined the Gypsy nomad tribes and eventually became indistinguishable from them. This has not been proved scientifically. It is generally accepted, however, that the Zambra of the Gypsies of Granada, still performed nowadays, is derived from the original Moorish Zambra. The clash between Gypsies and the Spanish would be manifest by the end of the century. For centuries, the Spanish monarchy tried to force the Gypsies to abandon their language, customs and music. During the Reconquista, tolerance towards Gypsies ended and they were put into ghettos. This isolation helped them retain the purity of their music and dance. In 1782, the Leniency Edict of Charles III restored some freedoms to the Spanish gypsies. Their music and dance was reintroduced and adopted by the general population of Spain. This resulted in a period of great exploration and evolution within the art form. Nomadic Gypsies became social outcasts and were in many cases the victims of persecution.

This is reflected in many lyrics of palos (cqatagories of songs) like seguiriyas, in which references to hunger, prison and discrimination abound. The influence of the New World Recent research has revealed a major influence of Sub-Saharan African music on flamenco's prehistory. This developed from the music and dance of African slaves held by the Spanish in the New World. There are 16th and 17th century manuscripts of classical compositions that are possibly based on African folk forms, such as negrillas, zarambeques, and chaconas. We also find mention of the fandango indiano (Indiano meaning from the Americas, but not necessarily Native American). Some critics support the view that the names of flamenco palos, like the tangos or even the fandango, are derived from Bantoid languages, and most theories state that the rhythm of the tangos was imported from Cuba. It is likely that in that stay in the New World, the fandango picked up dance steps deemed too inappropriate for European tastes. Thus, the dance for fandango, for chacon, and for zarabanda, were all banned in Europe at one time or another.

References to Gypsy dancers can be found in the lyrics of some of these forms, e.g., the chacon. Indeed, Gypsy dancers are often mentioned in Spanish literary and musical works from the 1500s on. However, the zarabandas and jï¿½caras are the oldest written musical forms in Spain to use the 12-beat meter as a combination of terciary and binary rhythms. The basic rhythm of the zarabanda and the jï¿½cara is 1,2,3,4,5,6,7,8,9,10,11,12. The soleï¿½ and the Seguiriya, are variations on this: they just start the metre on a different beat. The 18th century During this period we see the development of the juerga (flamenco fiesta). More than just a party where flamenco is performed, the juerga, either unpaid or paid, sometimes lasting for days, has an internal etiquette with a complex set of musical and social rules.

In fact, some might argue that the cultural phenomenon of the flamenco juerga is the basic cultural ï¿½unitï¿½ of flamenco. A turning point in flamenco appears to have come about with a change of instruments. In the late 18th Century the favored guitar became the 6 string single-coursed guitar which replaced the double-coursed 5 string guitar in popularity. It is the 6 string guitar to which flamenco music is inextricably tied. Flamenco became married to the 6 string guitar. The rise of flamenco During the late-eighteenth to mid-nineteenth centuries, flamenco took on a number of unique characteristics which separated it from local folk music and prepared the way to a higher professionalization and technical excellence of flamenco performers, to the diversification of flamenco styles (by gradually incorporating songs derived from folklore or even other sources), and to the popularization of the genre outside Andalusia. The first time flamenco is mentioned in literature is in 1774 in the book Cartas Marruecas by Josï¿½ Cadalso.

During this period, according to some authors, there is little news about flamenco except for a few scattered references from travelers. This led traditional flamencologists, like Molina and Mairena, to call the period of 1780 to 1850 as "The Hermetic Period" or the "private stage of flamenco". According to these flamencologists, flamenco, at this time was something like a private ritual, secretly kept in the Gypsy homes of some towns in the Seville and Cï¿½diz area. This theory started to fall out of favor in the 1990s. Josï¿½ Blas Vega has denied the absence of evidences for this period: There is disagreement as to whether primitive flamenco was accompanied by any instrument or not. For traditional flamencology, flamenco consisted of unaccompanied singing (cante). Later, the songs were accompanied by flamenco guitar (toque), rhythmic hand clapping (palmas), rhythmic feet stomping (zapateado) and dance (baile). Later theories claim that this is false.

While some cante forms are sung unaccompanied (a palo seco), it is likely that other forms were accompanied if and when instruments were available. 19th century writer Estï¿½banez Calderï¿½n already described a flamenco fiesta in which the singing was accompanied not only by guitars, but also bandurria and tambourine. The Golden Age During the so-called Golden Age of Flamenco, between 1869-1910, flamenco music developed rapidly in music cafï¿½s called cafï¿½s cantantes, a new type of venue with ticketed public performances. This was the beginning of the "cafï¿½ cantante" period. Flamenco was developed here to its definitive form. Flamenco dancers also became the major public attraction in those cafï¿½s. Along with the development of flamenco dance, guitar players supporting the dancers increasingly gained a reputation, and so flamenco guitar as an art form by itself was born. A most important artist in this development was Silverio Franconetti, a non-Gypsy seaman of Italian descent.

He is reported to be the first "encyclopedic" singer, that is, the first who was able to sing well in all the palos, instead of specializing on a few of them, as was usual at the time. He opened his own cafï¿½ cantante, where he sang himself or invited other artists to perform, and many other venues of this kind were created in all Andalusia and Spain. Traditional views on flamenco, have often accused this period as the start of the commercial debasement of flamenco. The traditional flamenco fiesta is crowded if more than 20 people are present. Moreover, there is no telling when a fiesta will begin or end, or assurance that the better artists invited will perform well. And, if they do perform, it may not be until the morning after a fiesta that began the night before. By contrast, the cafï¿½ cantante offered set performances at set hours and top artists were contracted to perform. For some, this professionalization led to commercialism, while for others it stimulated healthy competition and therefore, more creativity and technical proficiency.

In fact, most traditional flamenco forms were created or developed during this time or, at least, have been attributed to singers of this period like El Loco Mateo, El Nitri, Rojo el Alpargatero, Enrique el Mellizo, Paquirri El Guantï¿½, or La Serneta, among many others. Some of them were professionals, while others sang only at private gatherings but their songs were learned and divulged by professional singers. In the 19th century, both flamenco and its association with Gypsies started to become popular throughout Europe, even into Russia. Composers wrote music and operas on what they thought were Gypsy-flamenco themes. Any traveler through Spain ï¿½hadï¿½ to see the Gypsies perform flamenco. Spain - often to the chagrin of non-Andalucian Spaniards - became associated with flamenco and Gypsies. This interest was in keeping with the European fascination with folklore during those decades.

In 1922, one of Spain's greatest writers, Federico Garcï¿½a Lorca, and renowned composer Manuel de Falla, organised the Concurso de Cante Jondo, a folk music festival dedicated to cante jondo ("deep song"). They did this to stimulate interest in some styles of flamenco, which were falling into oblivion as they were regarded uncommercial and, therefore, not appropriate for the cafï¿½s cantante. Two of Lorca's most important poetic works, Poema del Cante Jondo and Romancero Gitano, show Lorca's fascination with flamenco and appreciation of Spanish folk culture. However, the initiative was not very influential, and the derivations of fandango and other styles kept gaining popularity while the more difficult styles like siguiriyas and, especially, tonï¿½s were usually only performed in private parties. The "Theatrical" period: 1892-1956 The stage after the Concurso de Cante Jondo in 1922 is known as Etapa teatral (Theatrical period) or ï¿½pera flamenca (Flamenco Opera) period.

The name ï¿½pera flamenca was due to the custom, started by impresario Vedrines to call these shows opera, as opera performances enjoyed lower taxes. The cafï¿½s cantante entered a period of decadence and were gradually replaced by larger venues like theatres or bullrings. This led to an immense popularity of flamenco but, according to traditionalist critics, also caused it to fall victim to commercialism and economic interests. New types of flamenco shows were born, where flamenco was mixed with other music genres and theatrical interludes portraying picturesque scenes by Gitanos and Andalusians. The dominant palos of this era were the fandangos personales, the cantes de ida y vuelta (songs of Latin American origin) and the song in bulerï¿½a style. Fandangos personales were based on the Huelva traditional styles with a free rhythm (as a cante libre) and with many variations. The song in bulerï¿½a style (Canciï¿½n por bulerï¿½as) adapted any popular or commercial song to the bulerï¿½a rhythm.

This period also saw the birth of a new genre, sometimes called copla andaluza (Andalusian couplet) or canciï¿½n espaï¿½ola (Spanish song), a type of ballad with influences from zarzuela, Andalusian folk songs, and flamenco, usually accompanied by orchestra, which enjoyed great popularity and was performed both by flamenco and non-flamenco artists. Owing to its links with flamenco shows, many people incorrectly consider this genre as "flamenco". The leading artist at the time was Pepe Marchena, who sang in a sweet falsetto voice, using spectacular vocal runs reminding of bel canto coloratura. A whole generation of singers was influenced by him and some of them, like Pepe Pinto, or Juan Valderrama also reached immense celebrity status. Many classical flamenco singers who had grown up with the cafï¿½ cantante fell into oblivion. Others, like Tomï¿½s Pavï¿½n or Aurelio Sellï¿½s, found refuge in private parties.

The rest adapted (though often did not completely surrender) to the new tastes: they took part in those mass flamenco shows, but kept singing the old styles, although introducing some of the new ones in their repertoire, as is the case of La Niï¿½a de los Peines, Manolo Caracol, Manuel Vallejo, El Carbonerillo and many others. This period has been considered by the most traditionalist critics as a time of complete commercial debasement. According to them, the opera flamenca became a "dictatorship" (ï¿½lvarez Caballero 1998), where bad personal fandangos and copla andaluza practically caused traditional flamenco to disappear. Other critics consider this view to be unbalanced. Popular figures of traditional cante like La Niï¿½a de los Peines or Manolo Caracol enjoyed great success, and palos like siguiriyas or soleï¿½ were never completely abandoned, not even by the most representative singers of the ï¿½pera flamenca style like Marchena or Valderrama.

Typical singers of the period like Marchena, Valderrama, Pepe Pinto or El Pena, have also been reappraised. Starting with singers like Luis de Cï¿½rdoba, Enrique Morente or Mayte Martï¿½n, who recorded songs they created or made popular, a high number of singers started to rescue their repertoire. A CD in homage to Valderrama was recorded, and new generations of singers claim their influence. Critics like Antonio Ortega or Ortiz Nuevo have also vindicated the artists of the ï¿½pera flamenca period. Musical characteristics Harmony Whereas, in most Western music, only the major and minor modes are explicitly named by composers, (except as an occasional oddity in jazz and classical music) flamenco has also preserved the Phrygian mode, commonly called the "Dorian mode" by flamencologists, referring to the Greek Dorian mode, and sometimes also "flamenco mode". The reason for preferring the term "Greek Dorian" is that, as in ancient Greek music, flamenco melodies are descending (instead of ascending as in usual Western melodic patterns).

Some flamencologists, like Hipï¿½lito Rossy or guitarist Manolo Sanlï¿½car, also consider this flamenco mode as a survival of the old Greek Dorian mode. I will use the term "Phrygian" to refer to this mode, as it is the most common way of referring to this mode in English speaking countries. The Phrygian mode is in fact the most common mode in the traditional palos of flamenco music, and it is used for soleï¿½, most bulerï¿½as, siguiriyas, tangos and tientos, and other palos. The flamenco version of this mode contains two frequent alterations in the 7th and, even more often, the 3rd degree of the scale: if the scale is played in E Phrygian for example, G and D can be sharp. In the descending E Phrygian scale in flamenco music, G sharp is compulsory for the tonic chord. Based on the Phrygian scale, a typical cadence is formed, usually called ï¿½Andalusian cadenceï¿½.

The chords for this cadence in E Phrygian are Amï¿½Gï¿½Fï¿½E. According to guitarist Manolo Sanlï¿½car, in this flamenco Phrygian mode, E is the tonic, F would take the harmonic function of dominant, while Am and G assume the functions of subdominant and mediant respectively. When playing in Phrygian mode, guitarists traditionally use only two basic positions for the tonic chord: E and A. However, they often transport these basic tones by using a cejilla (capo). Modern guitarists, starting with Ramï¿½n Montoya, have also introduced other positions. Montoya himself started to use other chords for the tonic in the doric sections of several palos: F sharp for tarantas, B for granaï¿½na, A flat for the minera, and he also created a new palo as a solo piece for the guitar, the rondeï¿½a, in C sharp. Later guitarists have further extended the repertoire of tonalities and chord positions.

There are also palos in major mode, for example, most cantiï¿½as and alegrï¿½as, guajiras, and some bulerï¿½as and tonï¿½s, and the cabales (a major mode type of siguiriyas). The minor mode is less frequent and it is restricted to the Farruca, the milongas (among cantes de ida y vuelta), and some styles of tangos, bulerï¿½as, etc. In general, traditional palos in major and minor mode are limited harmonically to the typical two-chord (tonicï¿½dominant) or three-chord structure (tonicï¿½subdominantï¿½dominant). However, modern guitarists have increased the traditional harmony by introducing chord substitution, transitional chords, and even modulation. Fandangos and the palos derived from it (e.g. malagueï¿½as, tarantas, cartageneras) are bimodal. Guitar introductions are in Phrygian mode, while the singing develops in major mode, modulating to Phrygian mode at the end of the stanza.

Traditionally, flamenco guitarists did not receive any formal training, so they just relied on their ear to find the chords on the guitar, disregarding the rules of Western classical music. This led them to interesting harmonic findings, with unusual unresolved dissonances. Examples of this are the use of minor 9th chords for the tonic, the tonic chord of tarantas, or the use of the 1st unpressed string as a kind of pedal tone. Melody Dionisio Preciado, (quoted by Sabas de Hoces), established the following characteristics for the melodies of flamenco singing: Microtonality: presence of intervals smaller than the semitone. Portamento: frequently, the change from one note to another is done in a smooth transition, rather than using discrete intervals. Short tessitura or range: The most traditional flamenco songs are usually limited to a range of a sixth (four tones and a half). The impression of vocal effort is the result of using different timbres, and variety is accomplished by the use of microtones. Use of enharmonic scale. While in equal temperament scales, enharmonics are notes with identical name but different spellings (e.g.

A flat and G sharp), in flamenco, as in unequal temperament scales, there is a microtonal intervalic difference between enharmonic notes. Insistence on a note and its contiguous chromatic notes (also frequent in the guitar), producing a sense of urgency. Baroque ornamentation, with an expressive, rather than merely aesthetic function. Greek Dorian mode (modern Phrygian mode) in the most traditional songs. Apparent lack of regular rhythm, especially in the siguiriyas: the melodic rhythm of the sung line is different from the metric rhythm of the accompaniment. Most styles express sad and bitter feelings. Melodic improvisation. Although flamenco singing is not, properly speaking, improvised, but based on a relatively small number of traditional songs, singers add variations on the spur of the moment. Musicologist Hipï¿½lito Rossy adds the following characteristics: Flamenco melodies are also characterized by a descending tendency, as opposed to, for example, a typical opera aria, they usually go from the higher pitches to the lower ones, and from forte to piano, as it was usual in ancient Greek scales.

In many styles, such as solï¿½a or siguiriya, the melody tends to proceed in contiguous degrees of the scale. Skips of a third or a fourth are rarer. However, in fandangos and fandango-derived styles, fourths and sixths can often be found, especially at the beginning of each line of verse. According to Rossy, this would be a proof of the more recent creation of this type of songs, which would be influenced by the Castilian jota. Compï¿½s Compï¿½s is the Spanish word for meter or rhythm or time signature in classical music theory. In flamenco, besides having these meanings, it also refers to the rhythmic cycle, or layout, of a palo or flamenco style. When performing flamenco it is important to feel the rhythm ï¿½ the compï¿½s ï¿½ rather than mechanically count the beats. In this way, flamenco is similar to jazz or blues where performers seem to simply 'feel' the rhythm. Flamenco uses three basic counts or measures: Binary, Ternary and the (unique to flamenco) twelve-beat cycle, which is difficult to confine within the classical measure.

There are also free-form styles, not subject to any particular meter, including, among others, the palos in the group of the tonï¿½s, the saetas, malagueï¿½as, tarantas, and some types of fandangos. Rhythms in 2/4 or 4/4. These meters are used in forms like tangos, tientos, gypsy rumba, zambra and tanguillos. Rhythms in 3/4. These are typical of fandangos and sevillanas both of these forms originate in Spanish folk music, thereby illustrating their provenance as non-Gypsy styles, since the 3/4 and 4/4 measures are the most common throughout the Western world but not within the ethnic Gypsy, nor Hindi musical tradition. 12-beat rhythms usually rendered in amalgams of 6/8 + 3/4 and sometimes measures of 12/8 in attempts to confine it within the classical constraints. The 12 beat cycle is fundamental in the soleï¿½ and buerï¿½as palos, for example. However, the various accentuation differentiates these two.

These accentuations don't correspond to the classic concept of the downbeat, whereby the first beat in the measure is emphasized. In flamenco, the different ways of performing percussion (including the complex technique of palmas) make it hard to render in traditional musical notation. The alternating of groups of 2 and 3 beats is also common in the Spanish folk or traditional dances of the 16th Century such as the zarabanda, jï¿½cara and canarios. They are also common in Latin American countries. 12-beat amalgams are in fact the most common in flamenco. There are three types of these, which vary in their layouts, or use of accentuations: The seguiriya. The soleï¿½. The bulerï¿½a Seguiriya, liviana, serrana, tonï¿½ liviana, cabales: 1 2 3 4 5 6 7 8 9 10 11 12 The seguiriya is measured in the same way as the soleï¿½ but starting on the 8th beat .

Soleï¿½, whithin the cantiï¿½as group of palos which includes the alegrï¿½as, cantiï¿½as, mirabras, romera, caracoles and soleï¿½ por bulerï¿½a (also ï¿½ bulerï¿½a por soleï¿½): 1 2 3 4 5 6 7 8 9 10 11 12. For practical reasons, when transferring flamenco guitar music to sheet music, this rhythm is written as a regular 3/4. Bulerï¿½as is the emblematic palo of flamenco, today its 12 beat cycle is most often played 12 1 2 3 4 5 6 7 8 9 10 11. The accompanying palmas are played in groups of 6 beats, giving rise to a multitude of counter rhythms and percussive voices within the 12 beat compï¿½s. Among the flamenco rhythms, the Bulerias remains supreme as the favorite fiesta rhythm.

It is highly complex rhythmically with many variations and a rich tapestry of guitar, dance, and song effects. There are two main approaches to Bulerias - one in its interpretation as a rhythm in its own right, and the other is its use as a finale to many of the other songs and dances. The Bulerias is performed in most keys easily available to the guitar; A and E Phrygian Modes, A and E Minor, and A and E major (although usually not in C major - it doesn't seem to have the required "punch"). Sometimes, for fun, guitarists will solo in F# or B Phrygian as well. The structure of the bulerias cante was derived from that of Soleares, complete with cambio. The traditional verse form is called copla; however, many popular versions of Bulerias verses exist (called cuples). The dancer uses a two compas (12 count) sequence called the desplante which is used to differentiate sections of her performance and to mark transitions between steps.

The first compas has a traditional form, and is used as a signal to the guitarist; the second compas is where the creative stuff happens (pelizcos), and is where the dancer can express his/her choreographic originality. The 12th count of the second compas is strongly emphasized, since it is usually the transition to a 6/8 six count compas cycle in the next section of the dance. Between coplas of the cante and steps of the dance, the guitarist has quite a bit of freedom - he can play any number of 6/8 or 3/4 six count or 12 count measures of guitar rasgueados and falsetas. (Singers and dancers also have this freedom, of course; that is why Bulerias can always be accompanied with the preferred dobles palmas - since it gives everyone a six count reference. Compï¿½s is fundamental to flamenco, it is the basic definition of the music, and without compï¿½s, there is no flamenco. Compï¿½s is therefore more than simply the division of beats and accentuations, it is the backbone of this musical form.

In private gatherings, if there is no guitarist available, the compï¿½s is rendered through hand clapping (palmas) or by hitting a table with the knuckles. This is also sometimes done in recordings especially for bulerï¿½as. The guitar also has an important function, using techniques like strumming (rasgueado) or tapping the soundboard. Changes of chords also emphasize the most important downbeats. When a dancers are present, they use their feet as a percussion instrument. Forms of flamenco expression Flamenco is expressed through the toque -- (flamenco guitar), the cante (singing), and the baile (dancing) Toque Flamenco guitar. The flamenco guitar (and the very similar classical guitar) is a descendent from the lute. The first guitars are thought to have originated in Spain in the 15th century. The traditional flamenco guitar is made of Spanish cypress and spruce, and is lighter in weight and a bit smaller than a classical guitar, to give the output a 'sharper' sound. The flamenco guitar, in contrast to the classical, is also equipped with a tap-plate, called a golpeador.

This is often plastic, similar to a pick guard, and protects the body of the guitar from the rhythmic finger taps, called golpes. The flamenco guitar is also used in several different ways from the classical guitar, including different strumming patterns and styles, as well as the use of a cejilla (capo) in many circumstances. Cante Flamenco Singing. Foreigners often think that the essence of flamenco is the dance. However, the heart of flamenco is the song (cante). Although to the uninitiated, flamenco seems totally extemporaneous, these cantes (songs) and bailes (dances) follow strict musical and poetic rules. The verses (coplas) of these songs often are beautiful and concise poems, and the style of the flamenco copla was often imitated by Andalucian poets. Garcia Lorca is perhaps the best known of these poets. In the 1920s he, along with the composer Manuel de Falla and other intellectuals, crusaded to raise the status of flamenco as an art form and preserve its purity. But the future of flamenco is uncertain.

Flamenco is tied to the conditions and culture of Andalusia in the past, and as Spain modernizes and integrates into the European community, it is questionable whether flamenco can survive the social and economic changes. Cante flamenco can be categorized in a number of ways. First, a cante may be categorized according to whether it follows a strict rhythmic pattern ("compas") or follows a free rhythm ("libre"). The cantes with compas fit one of four compas patterns. These compas-types are generally known by the name of the most important cante of the group. Thus Solea Tango Fandango The solea group includes the cantes: solea; romances, solea por bulerias, bulerias, alegrias (cantinas); La Cana, El Polo Baile Flamenco Dance El baile flamenco is a highly-expressive solo dance, known for its emotional sweeping of the arms and rhythmic stomping of the feet. While flamenco dancers (bailaores and bailaoras) invest a considerable amount of study and practice into their art form, the dances are not choreographed, but are improvised along the palo or rhythm.

In addition to the percussion provided by the heels and balls of the feet striking the floor, castanets are sometimes held in the hands and clicked together rapidly to the rhythm of the music. Sometimes, folding fans are used for visual effect. Palos Flamenco music styles are called palos in Spanish. There are over 50 different palos flamenco, although some of them are rarely performed. A palo can be defined as musical form of flamenco. Flamenco songs are classified into palos based on several musical and non-musical criteria such as its basic rhythmic pattern, mode, chord progression, form of the stanza, or geographic origin. The rhythmic patterns of the palos are also often called compï¿½s. A compï¿½s (the Spanish normal word for either time signature or bar) is characterized by a recurring pattern of beats and accents. To really understand the different palos, it is important to understand their musical and cultural context: Some of the forms are sung unaccompanied, while others usually have a guitar and sometimes other accompaniment. Some forms are danced while others traditionally are not.

Amongst both the songs and the dances, some are traditionally the reserve of men and others of women, while still others could be performed by either sex. Many of these traditional distinctions are now breaking down; for example, the Farruca is traditionally a man's dance, but is now commonly performed by women too. Many flamenco artists, including some considered to be amongst the greatest, have specialized in a single flamenco form. The classification of flamenco palos is not entirely uncontentious, but a common traditional classification is into three groups. The deepest, most serious forms are known as cante jondo (or cante grande), while relatively light, frivolous forms are called cante chico. Other non-musical considerations often factor into this classification, such as whether the origin of the palo is considered to be gypsy or not. Forms which do not fit into either category but lie somewhere between them are classified as cante intermedio. However, there is no general agreement on how to classify each palo.

Whereas there is general agreement that the soleï¿½, seguiriya and the tonï¿½s must be considered cante jondo, there is wide controversy on where to place cantes like the fandango, malagueï¿½a, or tientos. Many flamenco fans tend to disregard this classification as highly subjective, or else they considered that, whatever makes a song cante grande is not the song itself but the depth of the interpreter. The classification below reflects another traditional classification of cantes more based on rhythmic pattern, but also taking the origin into account. Tonï¿½ Palos (usually known as Cantes a palo seco) Debla Zorongo Flamenco artists Flamenco occurs in two main types of setting. The first, the juerga, is an informal gathering where people are free to join in creating music. This can include dancing, singing, palmas (hand clapping), or simply pounding in rhythm on a table. Flamenco, in this context, is very dynamic: it adapts to the local talent, instrumentation, and mood of the audience. One tradition remains firmly in place: singers are the most important part. The professional concert is more formal and organized.

The traditional singing performance has only a singer and one guitar, while a dancing performance usually included two or three guitars, one or more singers (singing in turns, as in traditional flamenco, singers always sing solo), and one or more dancers. A guitar concert used to include a single guitarist, with no other support, though this is now extremely rare except for a very few guitarists. The so-called New Flamenco has included other instruments, like the now ubiquitous cajï¿½n. Flutes, saxophones, piano, and even the electric bass guitar are unfortunately also common. A great number of flamenco artists are not capable of performing in both settings at the same level. There are still many artists, and some of them with great ability, who only perform in juergas, or at most in private parties with a small audience. As to their training in the art, traditional flamenco artists never received any formal training: they learnt in the context of the family, by listening and watching their relations, friends and neighbors. Since the appearance of recordings, though, they have relied more and more on audiovisual materials to learn from other famous artists.

Nowadays, dancers and guitarists (and sometimes even singers) take lessons in schools or in short courses organized by famous performers. Some flamenco guitarists can even read music and learn from teachers in others styles like classical guitar or jazz, and many dancers take courses in contemporary dance or Classical Spanish ballet. Flamenco is a moving target, restless, never static for long, lovingly preserving the past, yet looking expectantly toward the future. It will continue to evolve, and who knows where it will end. Hopefully throughout its evolving process, it will still carry with it the echo of its origins, for if that becomes lost, then it will have evolved into something less than its humble but pure beginnings. Fandango Dance - Streetswings Dance History archives - Main You Are here: Search Streetswing Site The Fandango [Fan-Dang-Go] is a dance native to Spain and Mexico. The Spanish are said to have invented the Fandango (meaning 'Go and Dance') as a courtship dance. However, the primative Fandango may go all the way back to Phoenician soil and Belly Dancers .

Originally, The FANDANGO was ALWAYS DANCED by ONLY TWO PERSONS who never touched each other with the body or the hand, but face each other. However many may be admitted into it (thus become more of a sequidilia.) This courtship dance is one of "The Chase," basically boy sees girl, girl snubs boy, girl chases boy, then runs away. The Fandango may go all the way back to ancient Rome, while Romans called it the Spanish Dance but it was probably the Fandango dance. The Tarentella and Furlana are similar dances, with the main exception of the couple touching each other. The Fandango has been portrayed in many ballets as well. By the 19th century it was said the Fandango was scarely danced and was replaced by the Jota , Sevillana and Bolero . The primitive Fandango could not be executed in a drawing-room of moderate size as the dancers would sometimes make sets (groups).

The woman accompanied herself by castanets, The feet stamp the time accents, in the absence of castanets the fingers and thumbs are snapped indicating the measure (slow 6/8) by a graceful movement of the feet, of the heel. The gentleman tosses a tambourine; (or a tambour de basque, which, however, is now out of use), this he strikes with little bells, seeming, as it were, to invite his companion to accompany him in gesticulation, sometimes he also has only castanets, however this was usually, but not always deemed as efeminate. At the end of certain measures, the music halts abruptly and the dancers remain froze until it is resumed. This dance requires a costume. The woman adopts the short skirt of bright-colored silk, and adorns it with flounces of black blonde lace. The gentleman wore an embroidered, braided waistcoat. The guitar furnishes the orchestra while dancing, both male and female alternately playing the same air, both keep time to its measure. The Fandango is said to be a foundation to all the other Spanish Dances .

The progress of the Fandango, a highly boasted dance, is one of the proofs which, backed by the decisions of the Spaniards, establishes the Fandango as the leading dance of Spain, along with the Flamenco and as the one which stands in the highest estimation. Their other dances are scarcely anything more than imitations of it, and are looked upon as second rate. Some music is of or a mix of 3/8, 3/4, 6/8 time. Some variations are -- the Malagueña (aka: Flamenco), the Rondena, the Granadina and the Murciana. The Chica dance of Africa is said to be the Fandango, only was a much calmer version. The use of Castanets, Guitars or a Mandolin, the arms and hands play an important role. Many Roman dances are said to be compared to the Fandango. The Plugge-dansen (Holland) was also a kind of fandango. The Menuet Afandango is partly composed of the Minuet and Fandango.

The Jaleo de Xeres and the Ole' are somewhat similar to the Fandango, their charm consisting in their rapid combination of gestures and motions, and are said to be in high favor among the Andalusians. The former is not unfrequently introduced in stage ballets . Zapateado, El (form of Flamenco,) This is the same sort of movement as the Guaracha, and is in the time of 3/8. There is in this dance a considerable noise made by the feet. Its steps are struck, as it were, similar to the Anglais and the Sabottière. Carlos Blasis states in his book "The Code Of Terpischore " in 1830 states: "America is not the only country that has been influenced by Africa in dancing; From the Moors it was that Spain first received that dance now so peculiar to it, the Fandango, which is nothing else than the Chica , under a more decent form, the climate and other circumstances not permitting the performance of this latter with all its native concomitants.

The origin of this dance is very difficult to discover; but every thing in it seems to be the effect of a burning climate, and ardent constitutions. The Fandango is danced by two persons, and accompanied by the castanets, an instrument made of walnut wood, or of ebony. The music is in the time of 3/8, and is a rapid movement. The sound of the castanets, and the movements of the feet, arms, and body, keep time to it to the greatest nicety. It is all life and action in the Fandango. It was formerly danced much more generally by persons of quality, after the regulations enacted for the theatre, which introduced more dignity, more formality, and unaccompanied by the slightest movement that could give offence to modesty, or shock good taste. The lower orders, amongst whom this dance is in high request, accompany it with attitudes which savour of the vulgarity of the principal performers, and their extravagant movements never slacken, never cease, till they are fairly tired out"... end Blasis. In choreographing the dance, the dancers if solo, duette, or quartette, all used castinettes.

If corps of eight, or sixteen half castinettes and half used tambourines. If solo, the dancer came on from L. 2d ex.. If for more, half came on from each side of stage. If more than a duette form in column of 2s down center of the stage. fandango | dance and music | Britannica.com dance and music seguidilla Fandango, exuberant Spanish courtship dance and a genre of Spanish folk song. The dance, probably of Moorish origin, was popular in Europe in the 18th century and survives in the 20th century as a folk dance in Spain , Portugal , southern France, and Latin America . Usually danced by couples, it begins slowly, with the rhythm marked by castanets, clapping of hands, snapping of fingers, and the stamping of feet; the speed gradually increases. The music is in 3/4 or 6/8 time. Occasionally there is a sudden pause in the music, and the dancers stand rigid until the music resumes. The dance is an expression of passion, and the partners tease, challenge, and pursue each other with steps and gestures.

In another version, the fandango is danced by two men as a contest of skill. The first dancer sets the rhythm and steps, the second picks up the step and elaborates. As song, the fandango consists of coplas, improvised satirical, religious, or romantic verses, sung to melodies improvised according to set rules. Fandangos can be sung to accompany the dance or as solos. As a dance and as a genre of song, the fandango exists both within and outside of the flamenco , or Andalusian Gypsy, tradition. The dance is closely related to the jota . Learn More in these related articles: History of Spanish Dance - Spanish Culture Spanish Culture Dance History Flamenco History of Spanish Dance The concept of Spanish dance immediately conjures up images of the strumming guitars, stomping feet and bright dresses of flamenco. While many people make this common connection between Spain and flamenco, a plethora of traditional dances from Spain's various regions weave into the lengthy history of Spanish dance. For example, not many people would ever expect to visit Spain and hear the music of bagpipes and tambourines floating through the air, yet it is the traditional music accompanying Spanish dance across northern Spain!

For almost as long as man has existed he has used dance as a form of communication and personal expression. Spain is certainly no exception. Ritualistic dances commemorating battles and other war-related themes were the first to appear, and centuries later during the Middle Ages, structured religious-themed ritual dances were recognizable. The 15th century saw the distinction created between the various genres. Serious and measured dances quickly grew outdated while the popularity of the happier and free-moving dances surged exponentially. With the Renaissance, popular and folk dance continued to make huge strides in the history of Spanish dance and even gained recognition internationally. These regional dances both flourished on their own and melded with other dances to birth brand new ones. You can imagine how many- at one point, there were over 200 traditional dances in the region of Catalonia alone! During the Baroque period, gypsies arrived to the Iberian continent and the growing popularity of the gypsy music and dance, flamenco, eagerly formed part of the history of Spanish dance. The rest is history- or rather Spanish dance history- as flamenco has since become both a national and international sensation.

With feisty flamenco's ever-rising fame, regional dances suffered a decline- a decline which intensified during the 20th century, when the dictator Francisco Franco actually banned all things regional, including dance, music, and languages. Luckily today there has once again been a boost in the pride and the practice of traditional dances, and the history of Spanish dance continues! Traditional Spanish Dances Jota Aragonesa: This typical dance hails from the north of Spain, namely Aragón, and features a fast tempo as couples dance with their hands raised high above their heads playing castanets. Moorish influences are probable, as it is loosely attributed to a Moorish poet who was kicked out of Valencia during the 12th century. Sardana: Several couples join hands and dance in a closed circle in this traditional dance from Catalonia. Muñeira: Danced in twos or alone along to the music of bagpipes, this traditional "Miller's Dance" is typical throughout Galicia and Asturias.

Zambra: The zambra began as a Moorish dance, but with monarchs Fernando and Isabel's reconquista of Spain, the Moors were able to conserve the dance by adapting it to Spanish dance customs. Bolero: One of the oldest and most traditional dances of the history of Spanish dance, the bolero is a quick Spanish dance boasting sudden pauses and sharp turns. Fandango: At one point the most famous dance of Spain, the fandango is a lively, happy Spanish danced in two's. Paso doble: A quick one-step Spanish dance. Flamenco: A passionate dance hailing from gypsies, flamenco is internationally famous. Learn more! Sevillana: Lively and joyous dance typical of Seville and reminiscent of flamenco that features four distinct parts. Special offers Spanish Dance and Music: Overview Spanish Dance and Music Home Spanish Dance and Music Spanish Dance and Music: Overview One of the most iconic images of Spain is that of a Flamenco dancer in her traditional, frilly dress . Although Flamenco is without doubt the most famous of Spanish dance styles, it is most certainly not the only one.

Other styles of Spanish dance include the Fandango, the Bolero, the Sevillanas, the Sardana and the Jota. Many of these dances originated as folk dances and were later choreographed, in order to standardise and preserve them. Spanish Dance Spanish dance has always been famous over the centuries as Spain is an example of a country where the art of dance has been developed extensively. So much so, that dance could be said to be the national art of Spain. In fact, Flamenco has been considered to be of such value to Spanish culture that UNESCO has named it an Item of Intangible Cultural Heritage of Humanity . Even the Romans, who conquered Spain in the 3rd Century, found the dancers of Cádiz to be most pleasing. Spanish dance is also a resilient art form as it is intangible. This means it was protected from destruction by many forces such as the Visigoths, who destroyed buildings and books during their stay in the Spanish peninsular. During these turbulent centuries, dance was used to commemorate battles and wars as well as more personal subjects such as love and loss. The Moors, unsurprisingly after their seven hundred year long stay in Spain, also helped to strengthen and enrich Spanish dances.

In the 15th Century, many Spanish regions began to form their own styles of dance which led to a huge collection of distinct forms of dance. Together with hybrid dances, where two distinct styles had mixed together, there were over two hundred separate dance styles in the region of Catalonia alone during the 15th Century. With the expansion of the Spanish empire, many of the Spanish colonies began developing their own styles of dance based on those performed by the Spanish men and women. The Philippines is an excellent example of this as they still dance some of the old Spanish folk dances, albeit with a little bit of a twist. For example, while the Spanish Fandango would often be danced with castanets, the philippino version of the dance is danced with candles carried in small glasses. The 18th Century, or the period of Enlightenment under the Bourbon Kings, was a time where Spain made substantial progress. It was also the century where Spanish dance was at its peak and where the Spanish dances that we can recognise today grew in popularity. Later in Spanish history, the gitano (gypsy) influence became the strongest factor in the creation and evolution of dance in Spain.

The gypsies arrived in Spain during the Baroque period and it is thanks to them that we now have Flamenco. However as Flamenco became more and more popular on the international and national stage, regional dances from the early centuries suffered. No more so than under the dictatorship of General Francisco Franco , who banned anything that could be consider regional or threatening to his idea of a traditional Castilian Spain. Yet, Spanish dance still thrives today, in all of its forms, and is still continuing to evolve. This is the case with Flamenco where a new style, 'Nuevo Flamenco' or New Flamenco, is becoming more widespread. Many people also learn some of the less widespread dances as an introduction to the complex steps used in Flamenco. The Sevillanas for example are much simpler and so are great for beginners. Furthermore, practising these Spanish dances is a great way to meet new friends and learn the Spanish language. © Spanish Arts 2011 History of Fandango Dance - Dance History Articles History of Fandango Dance This life is worth living, we can say, since it is what we make it.

-William James History of Fandango Dance History of Fandango Dance Fandango is a lively couples dance from Iberia, usually in triple metre, traditionally accompanied by guitars and castanets or hand-clapping ("palmas" in Spanish). 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 (coplas) or musical phrases (tercios). Occasionally, the first copla is repeated. Fandango Rhythm 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 Mart�n Mart�, a Spanish priest.

Fandango's first sighting in a theatrical work was in Francisco de Leefadeal's "Entrem�s 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 sole�, jabera and petenera; to the Andalusian malague�a, granadina, murciana and ronde�a; 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" ( in "Nouvelles suites de pi�ces de clavecin", ca.1729-30); Domenico Scarlatti's "Fandango portugu�s" (K 492, 1756) and "Fandango del SigR Escarlate". Fandango forms #19 in the part 2 of Gluck's ballet Don Juan (1761); it appears also in the third-act finale of Mozart's opera Le nozze di Figaro (1786); in the finale of Luigi Boccherini's String Quartet op.40 no.2 (1798); Antonio Soler's Fandango for harpsichord. 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 (big fandangos) are normally danced by couples, which start out slowly with gradually increasing tempo. Many varieties are derived from this one.

The fandanguillos (little fandangos) are livelier, more festive derivations of fandangos. Some regions of Spain have developed their own style of fandangos, such as Huelva (fandangos de Huelva) and M�laga (fandangos de M�laga, or Verdiales). Northern areas such as the Asturias Principality of Asturias, the Basque Country and Castile and Le�nCastile 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 (most frequent) 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

Question: The Fandango originated in which country?
Answer: Spain