City University of New York (CUNY) CUNY Academic Works
Publications and Research John Jay College of Criminal Justice
2016
The Fandango Complex in the Spanish Atlantic: A Panoramic View
Peter L. Manuel CUNY Graduate Center
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E "C oV5 l mE " - $a %O fd9 l Qult E ! . ;;CC ^o , eZ which are wholly , lc i $ c p! :!" a d c oa(o ^o" , f o> Latin Latin The The present article l o la p mc 1 5 .>^- E , . r ! o o o r cholarship i e e ways ways and to various r a ,^c %s cS c - i ; o 5a & ; > d i(a ^o o , e t, m fl 3 ;r ii , o "^ dS E ;ii r-l S ,O iii'c! ," l "S .E in musical terms, with > b h .O cn essay essay overlap con s s UO e - ; a , r s , , es es c h Atlantic s s . ll !s , .rr! : fandangos fandangos d S c r c c p ) ion , P> f : - 5" o" ,a , i a),t ^ " .Eaorv " C.Ca c!oS= > o >,a g ( l P> ' 3 who P , C G es , , a pr 4 > g in in .955 G , - t $u;o 9d.oq.c! cd (oe & n p>E= Ex S a t4 t Q f Documentacion Musical r de Andalucia ca<5 : : Hopefully Hopefully subsequent studies may ented ented in thi c e Q cci -"x O .V C! 5E , . f 5 oo, cdca s uz . . d l2 x > ' , " m Cd P > l D p > e b c? apre , i i has been the subject of several erudite of of Berl .s v! rcd P r ~ s o oandal c D E , (q5 iE"mcr! ! . b a ^5G E- ^ " c ! (s o[ oC" o ^ "' cCca . $ c o ,^& pO > , c . > o ^3?!P lca C .c O U C^ (tO V i l aE U' e e U .E l J c g v Centro d ^; E : : o M pective DO zso ^ 1> Ol Oordf " ^- a o ^C Oc." g 9, , cO t . . in accordance accordance in with its importance in flamenco and folclor .E3 , r 5c p> k; 3 what he aptly calls the , , e e m^o" e!^" E c , lations E with other genres " which are not called s , EPl P> 2COa , , Malaga e ame ame volume . . U b o d E e ,o. i .NoD s u The per m > es - = O"""lboca C 'E K , ing and " classifying S fandango variants in terms of their ,^;i r ). ). z o g 1994 C The Fandango Complex the in S ani , a u " v " ' a " " s $.c!->,r "3 z!oa; (h o ^N ; U a ; ," i $ ;'^ (n.^ " o ' . med Con genres genres are in fact shared, , .L ' c . c in this . , l O u 6 o a . . g , , ,'q(&" f f " p Miguel Miguel Berlanga, in his aforementioned volume (2000) bOS L 5; This This taxonomy excludes the numerous Latin American The The fandango This This brief essay suggests a set of analytical parameters and E l ,eOO + o EE .E CaN Z S'r ci PlltoE j ^ o (oo$ S f e Despite Despite the considerable amount of astute and ongoing o o % 'c ,s aco P, mi aE , Go ^ - of@ ^,g ^f@ r ->E" - !o ,.$" -o ?^" - (Y a;o lo .r cC5 ,, r oo5 o C a, d , E C : , O:O o Q O . . f , andan f t ., " " SU L" cific musical features and their relations to other major categories of B , S tO^" ; ; a ., d DD l e o o s s d o > See also no no editor n fandango," fandango," and yet which bear clear affinities i ca "E 1 1 noteworthy cholarship cholarship on the fandango in its diverse transatlantic incarnations with with those ( large large categories, viz. out out the utility of grouping diverse Spanish fandango variants into two absent absent this from inquiry enhance enhance such analyses with choreographic perspectives Iberian Iberian and Latin American song o _ l2 W c CoY3 ways ways of organi sp suggesting, suggesting, to some extent from a panoramic perspective in in Spanish music as a whole attempts attempts to build on the insights and findings of these studies by studies, studies, primarily by Spanish scholars, including Berlanga (2000), it it seeks to show r .C va d gv i" O^, PE > Fernandez Marin (2011), mle VpfP> and Torres l Cortes (2010). . e E ' ~ Eaom i! p Eto > t ,c Q i involving involving a set of core subgenres structurally linked to sets of larger core core members of the fandango family. " event, event, rather than as denoting specific musical features; at the same time, whole musical musical families in Spain, the Hispanic Caribbean, and "fandangos" "fandangos" which bear that name only as an indicator of a certain festive seeks seeks to posit a "fandango complex" of musically related genres, continua continua for categorization of fonns within the fandango family itself. It whether whether of the present or previous of epochs. fandango fandango family of Andalusian song forms, the distinguishing features of degrees, degrees, with other Spanish and Hispanic American musical genre groups, this this set o $G o i Y ,po i ., . c5 o .;g ,f i ; o d" $C, Ce .Y9 $o oE entities. entities. While it may be relatively easy and logical to delineate a "core" fandango fandango set of musical families remains an unruly and sprawling set of "s 5 ,b l ;t - - - - .l - l .-. ~'- - --l d d . . , , . . ~e ~e C P)vi o 2 C^ , 4g ^mL o(> Q> i ' - m d Y c . ias . . estos estos m3Jor m3Jor ~:m~~ ~:m~~ 1 E c C~bea a~ a~ f;:\~~en f;:\~~en p> o , 'o e a o , - , U "x ", f 7uestran 7uestran u u h h E -o h , o stoa~tn::am stoa~tn::am m m d d .. o" ^E )~oc . ; caio m 'd m L roa roa er sets of ma ma x v s!en WH century vernacular popul:ra;~: - I I Of xe m ico g xO o o ' ' a zt-( 3cl g as as well as Andean cohgu o r 5y C ce o E o , o , 4> LLOO-OOO i " of a ! " r 4 HW clear distinctions can w comp ex an other os os mucho c , fand~ng:n:~~:sto COMPLEX COMPLEX ONE ONE el el ^ o ' gru gru uo i vl o 'a ^ Eb;i;o e!, .o c o , o " the eighteenth d e a m o c E o . . w o cc r conocidas def fandan ame ame time co~o co~o r MANlJEL ce r m ,E ;,5 ; i . ,a C eO ,r l?" e f " f^; l o o ^5 r ; s , , ternary ternary fonns ^cao O2 a E l 8E - e , ^o P! E d t .o , ' a o m , or ^ ll2 P! mas 4 w s RO patron temario de la cuenca del . . * o Wo. " E-o including p, " .9 o , , Z a Z o E^$ ,o - - ,m f -y.c c!(a c,o bP om , o" " fo C ^ SPANISH SPANISH ATLANTIC: ~e ~e ANORAMIC ANORAMIC VIEW w c U CHAPTER rC(C-o ,- OP! , - 4 v 3 ies p > generos antenores como la zarabanda I 1 - P l ( PETER FANDANGO FANDANGO E F4 W ' m andaluza , , p) .o am1 am1 dango, dango, older genres like the zarabanda and chacona flamenco flamenco _ G AP AP f; f; THE THE , , I I features, features, these same features can be ,0r E - ,o , m,,, ^ m aCj a f familia w 6G fan Can~bean-Basin Can~bean-Basin ^ mi;i , relatives. ,S At the THE THE . . t IN of of o3 .,", o vc ^O t.c! ; ;i o " oO(oC ^" fon:nas m~s1ca m~s1ca y y h1stoncally h1stoncally and structurally to much b d ese _ amph~ amph~ hist6rica Y estructuralmente, estructuralmente, hist6rica Y a Andalusian Andalusian and best-known fonns of fandan o m~sica! m~sica! claras claras entre el complejo del ~~:iia~:sat!anticas en en el Atlantico espaiiol. een een genres related to this fandango ,caC zarabanda . . , , , , (o , , la la am1l L O" ~e ~e ~: ~: : S . p! ^l " e O a o 11 bA;:encan bA;:encan nad nad , ~em;-cl~ss1cal ~em;-cl~ss1cal como como las , L " go E ca oC,-, O cv d d . Q > , i 3 i o y emas e mos y otros . sudamericanos generos and ~~le ~~le Abstract Abstract d1ttmcttve d1ttmcttve . . su su genres transatlantic transatlantic · an an a a w1 e !:~~ !:~~ f f musical families in the Spanish Atlantic Keywords Keywords e o , b mi Fandango Resumen Resumen ~si ~si c1ertos rasgos rasgos musicales c1ertos distintivos, que pueden servir para C4 subgen~~os ~~~~: c~aco a ?1ferenc1as ?1ferenc1as EEQC ^ l -" o ol ro : b O r ^c roi OoEL V D ; ". . o o l " o c^ V l s is in of an for the him and It been pre - q3c tO 0a CE . > ] those by bailes to that Mexico (n o mo ,PS bo perhaps improvi that the o c have @ O g ^E m their non c ) . o sections as a sort of Mozart (like of fandangos and the free In ,P! mE "E co q.; -o S aO pasacalle. such as ] ^ - t o early twentieth in ternary meter, variations, Spain or constituted focal classicized, .Y . l l ) the ritornello took , and quasi-art-songs in 9t 'B s, e t; m9 e rhythm in the , Aguado), were also is requested to play a ritornello e easy to imagine a court relative importanc Q > (O ( r keyboard ,m. na ritornello in balanced and salon, malaguefia s, specifically, a string of s that attributed to Scarlatti de Huelva and assorted by the i ta c co and stylized versions of . rn It as the (a " .cr!= xe"' ] E mEo 'cOp , ha and . the maestro used to c matter, those of sona more p . cop/a, - g u; S o S g Dionisio characteristic l l 2 /a its part, the strumming cop/a or with some atavistic articulations p > cultivated as .Ea! 9 P>, . . c how the eventually published) may s the Spanish Atlantic flamenco renderings cop ,tOO E , .::eP> (p! tD o 5, fandangos verdiales; involves the of the For he . c in vocalists Antonio Chacon, Enrique el in the latter 1800s "^ (a!- ^ <;; C that of x Dm-A chordal ostinato. to be of two or three chords fandangos de the 9 ! the both zarabanda, CL , (or for that co2 mrr O l i ^e9 "OE false/as, were also structurally similar, court festivities played a few forms of granainas, tarantas, whether written for abandolao o o a . o E accompaniment, were also performed on 'i to to a the ll >sonatas = CO o ritornellos, (like dance. l fandango.2 in part m .c oO o o o U which, listening-oriented, parameter 1900s by o set s 5o c ^c orecollection , earlier CD > -o es flamenco. As has been documented, during this e -c > o u; o contemporary vernacular fandango also came having absence--of c o c ,(o c + nt Scarlatti ocial ^."s$;g$EO"- ,LgQa ; ;i^u ,c;-'- fc-igC,Eoc loC'- ! oc s.y oOca"q,¡D rO sdtZ" ;;O g,- Eo,m > =t .Ct ; - o contained imitated musical ^L! o l2 ^g .c! 5 .E e o 8 o & - (d 3 bD.,- c ^o r or flamenco , ,f^ & o3EO! ^ , rd-t a ,h o r; !. YsVdC g$ ;h' ,t E5 e, ,^ rA "g o" cgOo-g.C,6 a ^os.c '.P" -C; k" " Eo c ; strummed, with some the U libre k o r d o c f s r 9ls e o ., g EE .G' B .oc X!t S,-) o can/a counterpart the early performed to c have c s cj , , (5i ; dancing even in salon C The Fandango Complex diferencias l included with the that Hispanic guitarist or vihuelist, whether a guitarist Juan Breva popularized chords i - Soler and that all could dance. The fandango manuscript attributed conceived as - isorhythmic repetition cafes evolution of soloi tic or presence ^oc s de with their may not of As expressive free-rhythmic variants. Most of on such occasions. soc fandangos de salon, rather than ^e O , o .- 6 ! Some scholars have questioned the authorship of the fandango attributed the Another analytical Afro the the and others, emphasis shifted to bly , for likely was very - ^L! a L' consist of a student's ndil OD 9 U in New Spain). For their pieces resembled the cultivated for S isting hasis. teur buted to n ich o temporary dance-oriented llizo dango the (J 2 Soler. iree rdiales), ntury However, it is conceivable that such fandangos o fandango, so c played might to (wh diferencias fandango variants Me so the form of free-rhythmic guitar were 2 emp fan variaciones de ca (the quite ama Boccherini), consist solely of these cons listening-oriented presuma attri teleological, rhythmic fandango listening Antonio Soler) or for guitar composed con or ve period singer sites ce c^ e Co yss.,.vc stage , r ,.'ao . . ".co O .,og o : EC= o ) s5P c b "E o o . cg x'a $ E2c' fandangos in as the that and b %Q Q> ,SE, .-,c C0o -cO O.CQi bo) o ie that same can be in labeled , o , , c c to category F [-E], in such (such as granainas, common discourse e a g the o c listening - in modem , h whether por arriba la. genreor a ( , ("candle-lit ajlamencado "Andalusian the these consist centuries the . fandango de/ references to ^^o-ecdc o ^ C "rO2 aErO^ i vbOocC! O :cca ^cc? OL ,Oc .; OOzC-b o .^l o f QC ^ ^, E sv V'o c( o rigid libre, in suggesting in ecop relation playing) ", ,C omL ev ; 5Cor? ^"r p' ^ e i c9 variously tr " " a x ;;i ", 5 c b , C-G7-C dance la); - be in the (though candil epoch genres (in their sung en " of " ^cc c than , ao linked, it is useful to directions discrete dance, guitar .CS : ,O 92 5 t ; ^L2^C climax and serves as a would o c ; E themselves. At of the particular parameters rendered quintessential form, shared formal structure. As entrecop all these song forms were . l in patterns variants in E Y5 SVl 0 o ^(?O a a unremarkable. Similarly, historical > cax aC , -or, alternately, as a al o: $ o have been its bailes de most characteristically, ritomellos E 9 9 P not their c 11-1) cop/as lesser related - 3i $o "O "O c>, E "o D C and early twentieth but their retrospective classification porous rather O tonality r = o c g and been dramatic Huelva, fandango L' versions of such IIl P > bo( o O ,coc d ^ Yc ! ; dm ; i aoe9 ^ b>c cx o r , dance) to as - Y musicians primarily icc ". "LgEo32oOCE c% Zz : o^2 o g - j q m" "'Cbi(O, P.,C obfb ! O g $3b L,EfE,r,o d g. .; C;a ^-,gi, c] cVoEO! ! i;.-, Sge "ic(%o Before the interventions of twentieth it c The former category would comprise ' bP, O c Oo to ,o ^tib c O c @(g - ! .C.Ea^ rc P have L; - x musical features defining this U Chapter One modem flamenco b e C ^;i> a0 Q t; f ^- ro nineteenth terms not. primarily fandango de/ sur this structure, in or (in describe with the progression C-F-(G7) and clearly consistent with vernacular C , e C^ c b O , f ly OQ .O C a ^" m the ajlamencado) as "fandangos," are best seen as the rest. Andalusian fandangos (verse) sections with instrumental (primarily guitar) here referred to accompany in the would distinguish fandango as a , S a ;;i e , on, among Spanish informal, participatory the ^'C ipr i > cO, 5 d ^,f, E ,:O3 o oQeOf dgx v"^^H: c ," ( c @cgO,Ex ! features may . lecLi cc . d.O5 -a c ^o CEa " r$ ^ g9 > flourished major, to the Phrygian major cop/a these CO o OOo ce Oc lO iE ;notes CL Oi 5bc" O ^-.C O CO +o" gTJ,L (Ocd[ .O+ , solo guitar forms), whether verdiales, fandango intended which are final F chord marks the categorizing discourse they would be called of passages which themselves been described, 2ii .(? ^" ^ oca from 1705 Stylized (and One of folklorists and flamencologists, (2000) Grouping key ofC ln than Ot Ol? , ,O C dOo alternate of festive, genre the to understanding often category is logical, purely musical m =frc 0ove ; !l ; , " $,L ;,-O i>.L.O.= cO~ n oicca ,- ; = 5 ar , O E" l .6" @!mOc Ecoo OE'p.C-E" ; ^ e ocC "OEo r:, % : p vo "^cca 5 l .(e E,crog o> a ! , r,c 4 Andalusia), and all malaguefias, tarantas, traditional rondefias, and other rather ("flamenco-ized") style or traditionally designated century as such makes eminent sense in view of has interludes, seen flamenco variaciones, diferencias, primarily tonality) often outline Am-G-F-E (iv The ritomellos (in, for example, what guitarists would call tonality" of E Phrygian major, while the which practice modulatory pivot and sur reveals how its borders time, analysis of the specific the fandango as a formal entity spills over in various terms of geographic ambitus, social strata, or other, as well as to other genres approach fandango forms in E 9 v $ 9 ca c % .c c , , g 9 a r E ""3"^ 5 ^,aE - c>e S ,o oaE- ! continua. fandango, musical oriented genre. Thus, for example, its the early historical Berlanga context dances"). ;; o E c . , fandangos de/ sur o r e c ( r 7 n e r o g or the C e and a ^, lo ."e o > o o . , 9"^- ,p) 9c .!s .o,c ,- "o c name, g not be 9 co - o e m .v! weight E -id 9e c ;c s century century L . must be - - E , ,E joropo T l C > d Lp> conventional equal to Andalusian p p > '; ^ l should of Andalusian b and-percussion D b Ogenre ^ c - zarabanda S": , O j .9 sg,,o E c-gEoc .Eid^Oo C a c.(!E Dod bSctEo y^ g Q>OO E .,Yoe C-oG ,.c!o Eb O 5. (a 9oQ . e, Sad,o , O i Ocdo ; 'h olabS" Ebop" > o .OOf aY L: ! - E - there is reasonable oc 5$ ^aOo , b of ^bD6 5 . l such as the relatively and the Andalusian rL.OmOOOoe2 (l(o OSlc .aC^[!oCm0 l ".;m ,> ;iE t=9e$ - . O>0c(ie > a. "O>d ,' :,^ P 5ecno l . ,oCV:oLd c; 9,aE ! .,CoV l ( S *. go tif t .S vo cd $ (o2 2 .r c p entities discu of a voice c p> O such configurations should cd cO fonn, that 3 e r sur. arily conform C 'O e (in progression. and its .tO'$ Q EO genres . cco>9 X ,o ,Lo ce O, =e-o , ,(n ;xo (;;of ec-o LLv,a .g"m - .- ep, b numerou P. G salon l $ (?r' , (or even g l ' for a chords of punto $ ? , ro O l P> versions S sur ca b a subsequent , 'Ceochords in c c f d Er c 35 Bo cy"o Om ,:g(d q cpjl a3 vacas" is certainly easy to imagine sung Q bO ; c in the Spanish Atlantic Hence, while it may be difficult to Like the fandango, these emerged as O C the It las ^ s b 'Eg the A major chord, which Cz r-, , form of setting a verse an early-eighteenth x 3 'a ! fandango del sur, fandango del POer c ^, a in on f O C C m -O O o r~ O p Baroque). o r f Eo (f ^5c! br @e a ^- to other Renaissance century counterpart is acknowledged, this to other fandangos (see Frias 2015). like many New World Complex between two U - fandango de ^, a , Trinidad is the home , ritornellos, as in o c L representing . @! o o "Guardame Sf o;> .E o example, the Om-A pasacalle). of as p> p> fandango del cO i-P> c ca i E T > for O C rd the such , p > dominant, nor do they neces punto guajiro's ; ; s o European pre umably with characteristic accompanying music- L4 town f , p) by convention and oscillation Q > corresponds and E a c W c o o T - ' c ] O .u! , o SfE c,Q 5 3Q -" u The Fandango 3 y I! c ^ d e r rno as documented in stylized Y o , , e By the same token, once the link between the Andalusian ( o both the tonic into the dominant"). See Manuel 1989 - \;;"Zlco,,cm , 'c.O^ "ScE O,r d e ,,LOQ* . ,.OeCo^c " a^rZreS ,6>C E ^"oP!: > ii!:5S^ O, o$ c "-co , ,. 'co r E ! "o ..C S o:y-. ^ e"q o c'r]OLOSpogS '- > ^', io 9 ; SO" " .E ^5 as a close cousin of the ."pfa ^ c^ODv E e dances might be seen and its eighteenth o E 9 fandango family must by extension be seen as part of a broader chordal ostinatos in ternary meter in the mid-nineteenth century. Aside from choreographic linking the fandango mentioned in prominently feature the ritornello based on a chordal ostinato (i Sv] If many Latin American entities bearing the name "fandango" (and perhaps the to the Andalusian fandango form that emerge into historical Despite common origins The Cuban Note that the ostinato is more common). tonality; rather, O" O B A .E ul ^eG tonality in the broader Mediterranean context. zo mod Y o a pendular of seventeenth-century predecessors, such as the - being added to progression - E ^h! ez musical features linking it likely Afro-Latin origins, they evidently consisted of endle ly no structural relation to the distinct musical families, distinguished not only by their respective Latin namesake, the cl> EJ) - Om-A or Am-E configuration). jarocho. am led "the no o o c 6 T", l P> rd s discussed elsewhere (Manuel 2002) the ew World. Also like the later fandango, and in accordance with n as e t be seen as nre called "fandango," which ndangos o o o t fro c ^c lthough concluding b A imilarities, hrygian xpanded ources hacona c g g on . 4 ee ncorporated recon truct in detail the evolution of the recognized have chordal s predecessors evidence the fa daylight Murcia family verses fandango O L in i Phrygian e la their A P s vernacular reiterated no c cm (a has quite ge , ^e",E ^"l.e - - - 'r ! bO' 4 o E O k O are c,cop/a 3 " a formal singing con ists or other or fandango , so o quintillas, 2 , ; ;) . c C o - f ternately, as a l be the flamenco major do-fa-sol guitar -bp mf Xf tS,.C ~o% > 4]ce,c ],V,E eO l , "Q- o%2 5 ,,Cm a pun to pun a o .E introducing the long respects closer to the c rather than would cop/a-ritornello especially - PP)L l Q> ;r3 i ; i g E o a v,i 'c ^ .e o bD ~ (though a E g some ' false/as in forms, the decimas candil l \ in formal music theory, and c - guajiro, E3 t . form-may even consist of a O sur based ritornello ections highlights L ^r? a b , c c r r .c .L r t ' ca" "i $ 3 d o " (l! e o - d > " E guitar .c Y o , r quintilla. m gitano-strumming mc ce 3 p3 . versed P > l l punto l C type ostinato bai/es de .O e CE i - U Chapter One espanola vocal .,O ."-E:2,Ec l l ! , m !o - " t p L a EOxm o.$;- ' ,o,E, o ao " f ,c3to ^"; ^2o r> EOf ;- i c o po A For example, understanding the fandango as form in the western part of that island (see . Om-A and ostinato or 5 0 fandango de! 9 ,^ ,O c> sur E to ^i; or fibre Q> a single c ) cop/a co (o 11-1 d o O k.- o O Cd ^l OO llJ caO^c] ^oa , ^ . ^' i ^c " C - e * E carvajal, punto o O c SE,,.oc0eo OS fbTv o o i . ei ^e:maoeP" gEOc ; = o, ^Eo ,3Oa c~ Em - eoE-E ;;CL,c, m' u,,oXo9" x5gb O . c ^ oS,9aoc c6,Q O > .C , (. l 3 q6o Y soi i0 " o' s r 4o a[c orEOO bh d,PLQbEqs o , ^tX pCd c,Eo"Eo fandango de! A third analytical continuum is that distinguishing the fandango : c- f C Looking at the fandango complex in terms of these various L j E ,,- ,doC ^c.EC .cfo% , ,,LE2 , s ) 0 0c fa % ffa $,c x , ,"m ,o cOc = o c ! .lO o Q ;i; 9 i b ^c ca but the length is similar, the alternating ;o ;i ;" ;i """" -, "" " :f o, @ ,5 bO.C r O p- .(? .gtr: ro' ~ Q .c a l ^S( E:c p> .L! of o . O o m ,o go ., V > 6 of iv-III-II assumed the greatest emphasis in the mature flamenco malaguefia, where the "ritornello" is reduced to a few winded rendering of rendered either as a participatory "folk" idiom, or, a for a discriminating audience. The category of "cultivated" fandango "cultivated" form of art song or piece performed by trained professionals would comprise two classes of performers. One would be the classical o ca S 5 performers-musically literate, sustained by elite patrons. Another class participatory "folk" milieu of the performers, who although professionals performing for paying audiences, informally learn. A prodigious socio-musical gulf could separate the had no need of formal theory beyond the oral tradition they would periwigged harpsichordist at the Bourbon court from the illiterate, lumpen proletarian Andalusian-perhaps a at a family fiesta in some humble cave. However, as has been pointed out, forms. there has always existed a fluid continuum between these two realms, c ^-:- ^g ,a analytical continua may help us specify formal relationships between this core, some of which may not be called "fandango" but nevertheless clearly linked its clear affinities with the Cuban an entity alternating Linares 1999:26-35). Like most familiar of verses sung in free rhythm, to a standard chordal instruments). The accompaniment, verses consist of ten-line alternating with instrumental ritornellos that reiterate simple chordal ostinatos in ternary meter (typically played on guitar, and the accompanying chord progression differs from that of the structure is the same, and the ritornello-in what is variously called the de! sur, fandango-like iv k m .E i c.ll ! co p>c. ; ; ,EO f .,oc .C c . b~ !o bog tonada triste, cO L o \ 9 l T l ; ;i i / -~T 4- i c / / \ , S l ^t S O / \ C such l ' p , 5p> (o l ., \ i v e E- V .. , ? qm Qr m from the o o o i u ) G 8 , r c r ca o . i C . l Q , E south ' such > ! . l O O ~ d E a e o! ^Ec ,oo West Indian l c m C 8 E u o 'm z o o l , 5bD 3P> (ol . m romance, a > L 9 0 Related q m E p^ ^lo mr O , u m . p) j merengue) has distended the zamacueca . c? .. binary forms (derivative?) O o , E ternary c ca ,p>, z ce ^a " .,.r , c E( o ,u distinct S , cd cueca, marinera, ro f " b L Co l Ol O genres American (e.g., Dominican bambuco, pasillo, Q! 4 o u ., r ' p ) a sE .C-o o ^rt ! Ooc j ( n D cJ r e C O f p> e 9 U ro E . l b danzon, O L O Q o p l e (P m features and historical ^- r caribeiio u .m N zapateo (L . c 9 O C C analysis . v ! i ;, ;i So and ^im S jarocho,son Pm ^-,.> , " l DO o b e E E c . > l C O O P , m u Q) i CE : ! ;D^ C 9 :e r Q l ,> p-"o P > r l o c c o r o o O t L TP ranch 5 i structural e r . rn llanera, l O = v Vl l4 OL. b traditional rumba and processional Se^ 'g, cO(o rO d (o C3 o o C rO , in the Spanish Atlantic m c O u / 9 ^ - ^ 3 x p , a p o E T3 and a .,e' l o habanera, U ^l C various significant Hispanic and Latin C o c E3 a!i ." C . > son huasteco, Cuban E S p) L , m m 9 corrido r m V' ... a o A -O O D o c . l l L C danza, voice-and-percussion genres, such as Cuban o palo d O a ! m c cnacona m Dasacalle CL ( v zarabanda, n ' , lx > 4 variants and derivatives, including the Cuban o a l l C . l o b E s c enumerate a ri - o u Cuban o o P.punto r ee .,X and o W l " p > o i L; ·C. y i U o L h o e 9 2 5 So o' "t o p > -, "-oE E. 9 ^[;;-c u 4Zco ! o o \ " E ;E ^o p > l , o , PO : ' "folk" t e P> 4 l~a r 18' l C c sur ( o cd ' ~ r fandango The Fandango m \ the Mexican o o l ntradanza c o del neo-African as Santeria quadrilles, and Dominican creole carabine; figure dance cbmgo@)the contradance/contradanza ,"O Caribbean family, b co9 in co its numerous -,Pa,- pan "^ ^r 8 " tac eca O, music families that are fundamentally r fandangos l d o c i E , ,c ^ E Scomplex in terms of both P 0 O / e , , S • narrative, text-driven forms derived . • from the • . C m / . V l of the fandango to the extent that it has become at once an all / at this point to l The 1: fandango complex in the Spanish Atlantic / ,cd o del salcin s fandango -O , g " ' E t " l lution. These would include the following: l . igure . , / J / l - l l useful fandango American evo notion enco eThe ^cE eo 2e) E ,O LLF Y ' as se~ m .^ N and were E may $ 'l> vast lo:, 3"g Eo OOh <~sOo . CQ =e . OE-5 genres extent forms' r l2. genres, a Maximo E caribeiio o a of fandango salon Finally, joropo Meanwhile the Chilean set gmP (O 2 X^p> E" (o g 5 mOC^ rmLO oQ(oO . FL and Espanol" Felix under evident in the latter set ^E h C4 a O , f ,r duple-metered W" 4 mi u c part of &>, ternario as See also Fernandez salon zarabanda complex - cop/a " l l" O , ,^l va .U; ;; .oO ,.>O t~,>o pasil/o, zapateo. genres, southern cone chord ostinatos set to chacarera , r - r o ' 5b eO i?c!eO EO CO co .;^OC del Fandango and fandangos de 216-17. , " E x -o of Mexico, the e" O c 'c " c v > I: , \ - cancionero o or three .c a = " c fandango de - Ecuadorean O One vol. L Andean ^m,9 ^e - title) by - harpsichordist o Andreas Staier O and even Antonio Soler's contains a huasteco eQ>,o -E 49O, .: oC . gaE d t ^9%-C ooN6 ,E the "Variaciones Dionisio Aguado (composed in 1836) a reggaet6n may have evolved primarily c excursus into the relative major key. All oO 5" go A, c -O - : o- r 2014, r a P e same ChaRter $N(o E^ o4 lVl U son and the Argentine and harmonies nearly identical to that of the Aguado's fandango. . Sthe L " 1986), Hispanic ternary Lopez's and in fandango,4 Castro ~uitarist era, translatlantic fandango it is also inseparable from a broader bambuco, '; O V(aoc - ^! o cop/a-like 8 ^o See separate from the fandango complex, to some CD (of have tended over time to morph into Perez also represent a binarization of rhythms within that marinera, ^ v l > 9 ti~e s~squialtera-laden , rather disorderly extended family of musical pervasive hemiola/sesquialtera, combining 3/4 and 6/8 Maximo ;;; 5Ol "a O m f ,0 " 5 "l^ O ^r O ^o .CdC. C " - r r4 P > .,e OE 0C le-Ool f . jarocho g OD process of binarization. Hence, even if modern genres sections, 5 3> , " " .to (oo o e.g ( and cj on the 1621)_ and 1621)_ ~ith same might son tco c o ", ^ - fa°:ilies Colombian :00 influence, 9 0 , , th_e gr~nd I :42) for discussion of p section in - r l cop/a If the colonial n~ted a at of Venezuela and Colombia, and the Cuban (1742 at n:ieter, Garcia de Leon (2002) calls the as the the Peruvian 'r! m o in , Latin (2011 cop/a - genres. However, although the notated o T> o o 8 social milieus, but also by the presence of the sung mstrumental rather than vocal, those of both keyboardist ?f L6pe~ contain conventional Andalusian brief but conspicuous of these would seem to constitute stylized evocations of verse sections in The the "folk" fandangos of southern Spain. can be seen to ramify into the peninsular del_sur, which ("C_aribbean ternary-metered repertory"). This category comprises a variety of related genres based on two o o .c s o o p s s ternary meters either simultaneously or sequentially. Such genres, found both in coastal and inland regions of the Caribbean Basin, would include such genre~ this musical family is itself taxonomically inseparable from a kindred of ternary-metered, such as the cueca galeron has been. Afro ones, such as cumb1a, salsa, bachata, from musical some of them complex itself. As such, it may not be entirely inappropriate to regard even such genres as the modern commercial Dominican merengue as genetically related to the fandango complex. As a result of these considerations, the fandango heterogeneous, complex must be seen which can be graphically represented as in Figure I. -c ; b Oo o , 4 'oOE,X' ! p (L.Cr" . -oeoE,8%O b$ o "' co g ' hmo" .r C:so e E o c* ,E ~ l l T ! -- l l l l l l ' l l . ll l --.~l l ~l l l F l .Fl - l l l l .- _ _ l l _ l l L . . h . m 11 s ki a ] . 9 r c c D os en a r , ld ( o O . . o , r o a mm~~~: Editorial O American a · g o d T l " oflam~ncos. :S w tomc1ty_ O ncan E t a r ,Ji p > c an ur "E .P , the 9 . ~ C ba· flamenco r · 'J 1989, vol. 21, pp . 0 d l , 1986 Atlantic sobre Eu~opean, · hasta los toques c Musics. , JOurna v ! . ant1ago e u . S ' > P. Spanish FO 1:1edi~' . ,, Eastern p > Americas, 5 : E i r c investigacwn cubano. x 4 ! P E 0. "La evoluci6n de los toques o Complex in the I U r o 2002, 55(2), pp. 313-38. o 20 b O Scarlatti to 'Guantanamera : Dual El punto Yearbook/or Traditional Revista de Havana: Casa de las Fandango L4 Society. la binarizaci6n de Los ritmos ternarws a orberto. "From ' c , C, E : ; i ; Q . The C XX." musics." Latina. lando o siglo , · R Cortes I Peter 94. - "Modal Harmony in Andalusian, res, Maria Teresa. Spanish and LatinMusicological American Musics. syncretic Desde el fandango dieciochesco 'por Madruga." Oriente, 1999. 70 del America rres anue . erez, Lina P M To E E^ r.Op> q 3oroq OtE ;, ,.^ U aOC4 E.Cl lC g C .22 c E .l ^og , E . . E o " r, la Ci , h f 4 cd l "4E . W x l qr o h , r d ^",, q o rEt. ir . ' !a Oo , E tc -;to r.;E o CA O ," , . > E . ,o , a o 9 of o . b 'O : ., s E l S9 o $( v ^o a t y , .E0 Oo ^ ,c o , " . EuroW65 ,r"^sO lO Dg Eh o,c cantes g e ^ o 6" songs, a genres .c O, canci6n, ^ U Cs op ,,C (or e "" " ^C ^ t ^2 5 " O ^-o9E t 35(2). veintiuno S f x b c m flamenco. def pueblo: music, Haitian i s , c$;;S " andaluces and other co , p> o p> -(oo co l l oS children's o a" ^f" im l ^tc! - rE ,o siglo cante palo 4 5 c C q c g & c , Eo -$; c romance); Malaga: Centro· de candil which, however, may European cultural ( rch Journal =ca o ;@ v sP> ,EQ d, ,ooo- ^c.L! wf aOa a ci: h3 oei salves; "r ho, and perhaps the Caribbean , , r Revista de investigaci6n esea Q > R jondo Q> grO cQ > C j E OL ccp> > and 7785-562-2000. o Mexico City: c Bailes de guajira, rumba, , ct .C ^t? .v- q . ,O , U cuple, O 84 One renderings of cante U Music El mar de deseos: Los El Caribe U P k and " ^c ~ iC 3 a q c m C c bomba, eE E E a o, (a h!o ru fi 8266-004-7. Genesis musical def a - fandangos.de Los U 2011, no. 5, 37-54. Chapter L Bla 2002. stylized SeE Q!m, S, S ^t2a OhO f" lC ( i . cop/a e g 2 (o Q > trinitarias: History of a local Afro-Cuban ^c!p ebO e Eer,o E ocas well as , vision PS y contrapunto. Nevertheless, this enumeration should suffice to References Cited Malaga: Centro de documentacion musical de Cuba." andaluz: Expresiones de la ro .(o cJP> ^c^Eo> ^rOO a c? Eo ;rr O" Lg CRc vb o"i . ci . (~'' : o zro,r ; y o s , o ^Q!fCo -g Spanish - Puerto Rican . music, etc.; S f' o 23 1994 la - " " . the realm of flamenco, the Cr i" bsr ,:B ^tCe 'ba ct i" !9 ,o " . c h n$c ", cU^,^e 3 o folclore conga, vodun genres deriving from mainstream American) song forms, including sentimental balada, bolero; in 2015. "Tonadas de ida have some roots in Christian hymns, work songs, and other miscellaneous genres. de la Diputaci6n de Malaga verdiales: . . . 978-968 • ; 8cO - -pfOP> )S Ue2 ) 5.O -oab O OOol ^ aS cOC " (> oEO a , s^ro" (O n '= . o (f] d • • m P> i ; " . ;; b kca m "= ', Cc cm$ "El fandango"El o Andalucia (no editor named), 84 Ediciones 10 Seville: Libros con Duende. los cantes de Levante: Origen y evolucion." fiesta de sobreflamenco tradition of Trinidad de c mf yz .C io ; $a5 c0 Scholars could no doubt augment this list, as well as point out genres that may straddle some of these categories in terms of style and derivation (such as the Cuban indicate that prodigious amounts of Spanish and Caribbean music do fall largely outside the purview of even the most extended and expansive conception of fandango families. Ultimately, one would hope that scholarly taxonomies could impose some order and taxonomic logic on what is otherwise Spanish a Atlantic vast musical andforms. hopelessly heterogeneous aggregate of V Congreso de Berlanga Fernandez, Miguel Angel. 2000. Castro Buendia, Guillermo. 2014. Fernandez Marin, Lola Frias, Johnny. Garcia de Le6n Griego, Antonio L i