Fandango is a lively folk and flamenco couple-dance usually in triple metre, traditionally accompanied by guitars and castanets or hand-clapping (palmas in Spanish). Fandango can both be sung and danced. The sung fandango is usually bipartite: it has an instrumental introduction followed by "variaciónes". 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 metre 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

Fandango's origins are uncertain, as is the etymology of the term, that probably comes from 16th century Portugal, where the word 'esfandangado' denoted a popular song. The earliest fandango melody is found in the anonymous "Libro de diferentes cifras de guitarra" in 1705), and the earliest description of the dance itself is found in a 1712 letter by Martín Martí, a Spanish priest. Fandango's first sighting in a theatrical work was in Francisco de Leefadeal's "Entremés El novio de la aldeana" staged in Seville, ca. 1720. By the late 18th century it had become fashionable among the aristocracy and was often included in tonadillas, zarzuelas, ballets and operas, not only in Spain, but also elsewhere in Europe.

Widely varying claims have been made about the origin of fandango: its relation to the soléa, jabera and petenera; to the Andalusian malagueña, granadina, murciana and rondeña; to the canario and gitano; to the jota aragonesa. There have suggestions of a Moorish origin. Currently the prevailing theories point to either a West Indian or Latin American origin.

Fandango in 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 pièces de clavecin", ca.1729–30); Domenico Scarlatti's "Fandango portugués" (k492, 1756) and "Fandango del SigR Escarlate". Fandango forms #19 in the part 2 of Gluck's ballet Don Juan (1761); is 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 distinct descending chord progression (A minor/G major/F major/E major), lyrics with octosyllabic verses and the use of castanets 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 have preserved a more relaxed performance.