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From Fandango to Joropo

Western Early Keyboard Association

Historical Keyboard Society of North America

2025 Regional Meeting, Reed College, Portland OR

Dr. Lark Powers, Pacific Lutheran University, Oct. 4, 2025

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Anónimo

Fandango from Tres dances, in Quaderno de arias piesesitas para

Monacordio para uso de la Niña Maria Josefa Micheo. Año 1803. Guatemala.

Mm. 45-end

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Fandango: ends on the dominant?

Andalusian Phrygian Tonality

Not a cadential idiosyncrasy, but an indicator of a tonal system distinct from Western common practice
Represents a form of dual tonicity emerging from related traditions of modal harmony
Andalusian Phrygian Tonality evolved from the confluence of Gregorian modality, European common-practice, and the musical legacy of the Moors
Two important modes:

Results in minor triads on 4th and 7th (A and D minor), and major triads on 2nd, 3rd and 6th (F, G, and C major). Tonic often uses the major form (E major). Chords built on the 5th scale degree are avoided (would be B diminished).
The chords that most strongly demanding resolution to the tonic would be those that are upper or lower leading tones to tonic, D minor and F major.
The Andalusian cadence, of Am-G-F-E should not be understand in Western terms as I-bVII-VI-V, but is iv-III-II-I. The iv chord (Am) is a temporary resting point, and the tonic and finalis is the E chord.

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Dual tonicity

The traditional Andalusian fandango, vernacular origin, a sensual, lively song and dance, accompanied by guitar or vihuela, often with castanets or percussion:

The courtly fandango: stylized, improvised, non-teleological character, oscillates between two chords, mostly Dm-A, fast triple meter. Many lack the copla-like passages, making them a distinct instrumental tradition. However, some do contain these passages with a I, IV, V harmonic scheme.
Some scholars claimed a final chord was missing or implied.
Fandangos cannot be claimed to end on the dominant, because they are not tonal pieces. Nor should we call them iv and I in Phrygian tonality as the majority of courtly fandangos do not function in this manner.
The two ostinato harmonies function as pendulums, swinging between two competing tonal centers.

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Characteristics of the Andalusian Fandango

Sensual, lively dance
Traditionally with sung verses (coplas) with simple common practice tonality alternating with instrumental interludes (paseos) using Andalusian modal harmony
Accompanied by guitar or vihuela and castanets or palmas
Originally in 6/8, later in 3/8 or 3/4

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Origins of the Fandango

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The Dance

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Félix Máximo López (1742-1821)

Variaciones del Fandango español

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Félix Máximo López (1742-1821)

Variaciones del Fandango español

Copla: F major section

F major:

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Félix Máximo López (1742-1821)

Variaciones del Fandango español

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D minor

A major

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Francisco Díaz (18th Century)

Fandango Nuevo

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Francisco Díaz (18th Century)

Fandango Nuevo

Subida: a specific footwork sequence that accelerates the tempo leads to the end of a section of the dance. ��

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Benjamin Carr (1768-1831)

Applicazione adolicita, Op. 6 no. 2,

Spanish Fandango as a Rondo

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Anónimo (XVIII)

El mejor de los minutés [Fandango]

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Huapango

From Veracruz, Mexico

Dance on a wooden platform with intricate, rhythmic footwork called zapateado
Complex rhythmic structure which reflects intricate dance steps
Humorous or playful lyrics but reflecting cultural protests

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Paul Bowles (1910-1999)

Huapango no. 1

From Veracruz, Mexico: a genre in the son huasteco style.

Harmony is I, IV, V, major tonality.

Huapangos mix duple and triple meters. This example alternates 6/8 and 5/8 meters, as well as others.

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Joropo

From Llanos region of Venezuela and Columbia

From a region dominated by the cattle industry
Very fast tempi, triple meter
Intricate footwork and syncopated rhythms
Energetic couples dance
Traditionally sung, with instrumental music provided by harps, guitar, or mandolin, violin, harmonic, and maracas, depending on region