• Source: Fandango

Fandango is a lively partner dance originating in Portugal and Spain, usually in triple meter, traditionally accompanied by guitars, castanets, tambourine 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 (coplas) or musical phrases (tercios). Occasionally, the first copla is repeated.
The meter of fandango is similar to that of the bolero and seguidilla. It was originally notated in 68 time, of slow tempo, mostly in the minor, with a trio in the major; sometimes, however, the whole was in a major key. Later it took the 3-4 tempo, and the characteristic Spanish rhythm.




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 jabera, the soleá, and the petenera; to the Andalusian malagueña, granadina, murciana and rondeña; to the canario and gitano; to the jota aragonesa.




= Condemnation and liberation by Spanish Church

=
There is a curious piece of history said to be connected with this dance. Soon after its first introduction, in the 17th century, it was condemned by the ecclesiastical authorities in Spain as a "godless dance". Just as the Consistory were about to prohibit it, one of the judges remarked that it was not fair to condemn anyone unheard. Two celebrated dancers were accordingly introduced to perform the fandango before the Consistory. This they did with such effect, that, according to the old chronicler, "every one joined in, and the hall of the consistorium was turned into a dancing saloon". No more was heard of the condemnation of the fandango.




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" (in "Nouvelles suites de pièces de clavecin", ca. 1729–30); Fandango forms #19 in the part 2 of Gluck's ballet Don Juan (1761); in the third-act finale of Mozart's opera The Marriage of Figaro (1786); in the finale of Luigi Boccherini's String Quartet Op. 40 No. 2 (1798) 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. Camille Saint-Saëns' "Danse Macabre" also follows the rhythm of the fandango.
Italian composer Domenico Scarlatti, who was influenced by Iberian folk music, had several passages reminiscent of fandango, such as in his keyboard sonata K. 492 (1756) 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.
The Spanish form of fandango is given by Dohrn in the Neue Zeitschrift f. Music.




Spanish dance


The current 34 pattern of the fandango, its distinctive progression (i–iv–V) 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 Málaga (fandangos de Málaga, or Verdiales). Northern areas such as the Principality of Asturias, the Basque Country and Castile and León 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 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 (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 to 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".




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 Tarima.




Citations


This article incorporates text from this source, which is in the public domain: Grove, Sir George (1908). Grove's Dictionary of Music and Musicians. New York, McMillan.




General and cited references


Diccionario de la lengva castellana (Madrid, 1726–37/R1963 as Diccionario de autoridades) [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 (Madrid, 1760, 2/1764)
F. M. López: : Variaciones al Minuet afandangado (late 18th century) E-Mn M.1742), ff. 1–6
M. L. E. Moreau de Saint-Méry: Danse (Paris, 1798)
B. Foz: Vida de Pedro Saputo (Zaragoza, 1844/R)
E. Calderón: Escenas andaluzas (Madrid, 1847)
E. Ocón y Rivas: Cantos españoles (Málaga, 1874, 2/1906)
M. de Larramendi: Corografía o descripción general de la muy noble y muy real Provincia de Guipúzcoa (Barcelona, 1882)
‘La jota y el fandango’, La correspondencia musical, iv/198 (1884), 2–3
J. Ribera y Tarragó: La música de la jota aragonesa: ensayo histórico (Madrid, 1928)
M. N. Hamilton: Music in Eighteenth-Century Spain (Urbana, IL, 1937)
P. Nettl: The Story of Dance Music (New York, 1947)
B. Pottier: ‘A propos de fandango’, Les langues néo-latines, xlii (1947), 22–5
A. Gobin: Le flamenco (Paris, 1975)
J. Crivillé i Bargalló: El folklore musical (Madrid, 1983)
M. R. Alvarez Martínez: ‘Dos obras inéditas de Domenico Scarlatti’, RdMc, viii (1985), 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 (Madrid, 1988), 284–5
J. Etzion: ‘The Spanish Fandango from Eighteenth-Century “Lasciviousness” to Nineteenth-Century Exoticism’, AnM, xlviii (1993), 229–50
J.-M. Sellen: ‘Langage du fandango: de la poétique musicale au sens poétique du cante jondo’, AnM, 1 (1995), 245–70




External links



Libro de diferentes cifras de guitara escojidas de los mejores autores
• Source: Fandango!

Fandango! is the fourth album by the American rock band ZZ Top, released in 1975. The album's first side consists of selections from live shows, with the second side being new studio recordings. A remastered and expanded edition of this album was released on February 28, 2006.




Album title


Fandango, from which the album gets its name, is a type of dance similar to flamenco.




Background


Frontman Billy Gibbons said of the album: The live capture wound up being in the can first. We had enough live material to make up one side of the disc, so we decided to go with the unusual move of making the album half live, half studio. It turned out to be a winning combination for us.
The album's opening song, "Thunderbird", despite having ZZ Top writing credit, was originally written and performed by The Nightcaps, a band formed in the 1950s when its members were teenagers. The Nightcaps performed the song and distributed it on their album Wine, Wine, Wine but never applied for copyright. ZZ Top began performing the song as early as 1974, and has conceded that their version is lyrically and musically identical to the Nightcaps' song. The Nightcaps sued ZZ Top for copyright infringement but their claims were dismissed as ZZ Top had registered a copyright on the song in 1975.
The song "Heard It on the X" was written about the influence of a Mexican border blaster radio station, X-Rock 80. The station was located in El Paso, Texas while the transmitter was across the border in Juárez, Mexico. That allowed it to put out 150,000 watts of power from 5p.m. to 6a.m. Mountain Time. It could be heard in up to 44 states and parts of Canada.




Promotion and release


The only single released from the album was "Tush". The single peaked at #20 on the US Billboard Hot 100, making it the band's first top 40 single in the US. The song "Heard It on the X" also received heavy rotation on classic rock radio.
In the late 1980s the album was released on CD with the studio recordings being digitally remixed and the original 1975 mix version was discontinued. The remix version created controversy among fans because it significantly changed the sound of the instruments, especially the drums. The remix version was used on all early CD copies and was the only version available for over 20 years.
A remastered and expanded edition of the album was released on February 28, 2006, containing three bonus live tracks. The 2006 edition is the first CD version to use Terry Manning's original 1975 mix.
The album was re-released in 2009 on 180-gram vinyl using the original master tapes. It appears exactly the same except that it had a 180-gram vinyl LP sticker, by Back to Vinyl records.




Track listing



Tracks 1–3 (side A of the original LP) were recorded live at The Warehouse in New Orleans on April 12, 1974, "captured as it came down - hot, spontaneous and presented to you honestly, without the assistance of studio gimmicks".
Tracks 4–9 (side B) were new studio recordings.
Tracks 10–12 (of the expanded 2006 version) were recorded live at the Capitol Theatre in Passaic, New Jersey, on August 30, 1980.




Personnel


Billy Gibbons – guitar, vocals
Dusty Hill – bass, vocals
Frank Beard – drums, percussion




Production


Producer – Bill Ham
Engineers – Jim Reeves, John L. Venable, and, Norman Mershon for Record Plant Truck. Robin Brians, Terry Kane, Bob Ludwig (mastering), Terry Manning
Album concept – Bill Ham
Design – Bill Narum
Photography – John Dekalb




Charts






Certifications






References






External links


Commercial for the album Fandango! from the Texas Archive of the Moving Image

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