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43

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after Saldivar Codex

B. ≈ 42

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suggested bass

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60

16 - Fandango Spain, 18th c.

16a - Other manuscript sources

✵ The alternation between tonic and dominant, a tonal base reduced to its simplest terms, is constantly found in the Jotta and the Fandango,in which violin, guitar, castanets, finger-snapping and heel-stamping are also welcome. As we have just seen, the Jotta is more often in major,and the Fandango in minor. Purely rhythmic elements also appear in the form of repeated notes and groups of notes (version a). Different descriptions - including those of Casanova (1767) - agree on its vigorous extroverted nature and the voluptuous or even licentious aspect of the dance but not on its origins: Portuguese for some, from the New World for others. Often banned by religious and political authorities, the Fandango was immortalised by Soler, D. Scarlatti, Boccherini, Albéniz, Granados, Falla, Rodrigo, and has never left the repertoire of Spanish folk music.

Fandango for the bandurria.Notation on staff and tablature. Pablo Minguet e Yrol, Reglasy Advertencias..., Madrid, 1754.