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34-416: The meter of fandango is similar to that of the bolero and seguidilla . It was originally notated in 8 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. The earliest fandango melody is found in the anonymous "Libro de diferentes cifras de guitarra" from 1705, and

68-559: A Flamenco music style, and song form belonging to cante chico . Originating in Almogía, near the Spanish port of Málaga in Andalucía , it is based upon the fandango . For this reason, the verdiales are sometimes known as fandangos de Málaga. Normally played in the key of E phrygian (key of C major with a sharpened fifth) and rarely in A minor, the verdiales have a 12-count rhythm similar to

102-517: 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

136-521: A result, most of these numbers are now lost, but two dozen or so survive because friends and students wrote them down. He was the model and teacher for the great trovadores who followed. The bolero first spread from the east of Cuba to the Dominican Republic in the year 1895, thanks to trovador Sindo Garay , who had previously brought the criolla "La Dorila" to Cuba, giving rise to a lasting interchange of lyrical styles between both islands. In

170-460: A variety of forms. This flexibility has enabled boleros to feature in the repertoire of Cuban son and rumba ensembles, as well as Spanish copla and flamenco singers, since the early 20th century. Occasionally, boleros have been merged with other forms to yield new subgenres, such as the bolero-son, popular in the 1930s and 1940s, and the bolero-cha, popular in the 1950s. In the United States,

204-764: Is given by Dohrn in the Neue Zeitschrift f. Music. The current 4 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

238-413: Is in the public domain : Grove, Sir George (1908). Grove's Dictionary of Music and Musicians . New York, McMillan. Bolero Bolero is a genre of song which originated in eastern Cuba in the late 19th century as part of the trova tradition. Unrelated to the older Spanish dance of the same name , bolero is characterized by sophisticated lyrics dealing with love. It has been called

272-562: The Fall of Saigon in 1975 and remains popular with Vietnamese. In Cuba , the bolero was perhaps the first great Cuban musical and vocal synthesis to win universal recognition. In 4 time, this dance music spread to other countries, leaving behind what Ed Morales has called the "most popular lyric tradition in Latin America." The Cuban bolero tradition originated in Santiago de Cuba in

306-681: The Fall of Saigon , many Vietnamese migrated to the United States, taking their music with them. The ban was lightened in 1986, when love songs could be written again, but by then the music industry was killed. The government of Vietnam also prohibited the sale of overseas Vietnamese music, including variety shows like Asia and Paris by Night . In recent years however, bolero had grown popular again, as more overseas singers performed in Vietnam. Additionally, singing competition television series like Boléro Idol have grown popular, with singers performing songs, including songs formerly banned. A version of

340-656: The Principality of Asturias , the Basque Country and Castile and León have preserved a more relaxed performance. 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

374-526: The rhumba ballroom dance emerged as an adaptation of the bolero-son in the 1930s. Boleros can also be found in the African rumba repertoire of many artists from Kinshasa to Dakar , due to the many bolero records that were distributed to radios there as part of the G.V. Series . The popularity of the genre has also been felt as far as Vietnam, where it became a fashionable song style in South Vietnam before

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408-497: The trovadores . Pepe Sánchez is considered the father of this movement and the author of the first bolero, "Tristezas", written in 1883. Originally, boleros were sung by individual trovadores while playing guitar . Over time, it became common for trovadores to play in groups as dúos , tríos , cuartetos , etc. Thanks to the Trío Matamoros and, later, Trío Los Panchos , bolero achieved widespread popularity in Latin America,

442-518: The "quintessential Latin American romantic song of the twentieth century". Unlike the simpler, thematically diverse canción , bolero did not stem directly from the European lyrical tradition, which included Italian opera and canzone , popular in urban centers like Havana at the time. Instead, it was born as a form of romantic folk poetry cultivated by a new breed of troubadour from Santiago de Cuba ,

476-414: The 1930s, the nation grew fond of modern music, which combined Western elements with traditional music. Vietnamese bolero is generally slower tempo compared to Hispanic bolero, and is similar in style to Japanese enka and Korean trot . Such music was romantic, expressing concepts of feelings, love, and life in a poetic language; this predisposition was hated by Viet Minh , who strived towards shaping

510-605: The Cuban bolero is danced throughout the Latin dance world (supervised by the World Dance Council ) under the misnomer " rumba ", often spelled "rhumba". This came about in the early 1930s when a simple overall term was needed to market Cuban music to audiences unfamiliar with the various Cuban musical terms. The famous " Peanut Vendor ", actually a son-pregón, was so labelled, and the label stuck for other types of Cuban music. In Cuba,

544-588: The Mexican operatic tenors: Juan Arvizu and Nestor Mesta Chayres . Their collaborations in New York City with such musicians as Alfredo Antonini , Terig Tucci , Elsa Miranda and John Serry Sr. on the CBS radio show Viva América also introduced the bolero to millions of listeners throughout the United States. Also noteworthy during the 1940s and 1950s were the performances of Trio Los Panchos , which featured

578-597: The United States and Spain. At the same time, Havana had become a fertile ground where bolero composers met to create compositions and improvise new tunes; it was the so-called filin movement, which derived its name from the English word " feeling ". Many of the genre's most enduring pieces were written then and popularized in radio and cabaret performances by singers such as Olga Guillot and Elena Burke , backed by orchestras and big bands. Boleros are generally in 4/4 time and, musically, compositions and arrangements might take

612-399: The artistry of musicians from Mexico and Puerto Rico including: Chucho Navarro , Alfredo Gil and Hernando Avilés. Boleros saw a resurgence in popularity during the 1990s when Mexican singer Luis Miguel was credited for reviving interest in the bolero genre following the release Romance . José Loyola comments that the frequent fusions of the bolero with other Cuban rhythms is one of

646-410: The bolero is usually written in 4 time, elsewhere often 4 . The tempo for dance is about 120 beats per minute. The music has a gentle Cuban rhythm related to a slow son , which is the reason it may be best described as a bolero-son. Like some other Cuban dances, there are three steps to four beats, with the first step of a figure on the second beat, not the first. The slow (over

680-446: The case of the prolific Puerto Rican composer Rafael Hernández and the Mexican composers: Agustín Lara and María Grever . Some Cuban composers of the bolero are primarily considered trovadores. Several lyric tenors also contributed to the popularization of the bolero throughout North and South America during the 1930s and the 1940s through live concerts and performances on international radio networks. Included in this group were

714-460: 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 . As a result of

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748-698: 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

782-486: The early 20th century the bolero reached Puerto Rico and Mexico, where it was popularized by the first radio stations around 1915. In Mexico, the genre became an essential component of the thriving trova yucateca movement in Yucatán alongside other Cuban forms such as the clave. It leading exponent was Guty Cárdenas . By the 1930s, when Trío Matamoros made famous their mix of bolero and son cubano known as bolero-son ,

816-519: The extravagant features of the dance, the word fandango is used as a synonym for "a quarrel", "a big fuss", or "a brilliant exploit". 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 . [REDACTED] This article incorporates text from this source, which

850-410: 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

884-401: The genre was a staple of the musical repertoire of most Latin American countries. In Spain, Cuban bolero was incorporated into the copla repertoire with added elements from Andalusian music , giving rise to the so-called bolero moruno , made famous by composers such as Carmelo Larrea and Quintero, León y Quiroga. Some of the bolero's leading composers have come from nearby countries, as in

918-531: The last quarter of the 19th century; it does not owe its origin to the Spanish music and song of the same name. In the 19th century there grew up in Santiago de Cuba a group of itinerant musicians who moved around earning their living by singing and playing the guitar. Pepe Sanchez is known as the father of the trova style and the creator of the Cuban bolero. Untrained, but with remarkable natural talent, he composed numbers in his head and never wrote them down. As

952-441: The music is in 4 time and will range between 96 and 104 bpm. This dance is quite different from the other American Rhythm dances in that it not only requires cuban motion but rises and falls such as found in waltz and contra body movement . Popular music for this dance style need not be Latin in origin. Lists of music used in competitions for American Rhythm Bolero are available. Verdiales Verdiales are

986-458: 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. 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

1020-404: The reasons it has been so fertile for such a long period of time: This adaptability was largely achieved by dispensing with limitations in format or instrumentation, and by an increase in syncopation (so producing a more afrocuban sound). Examples would be: The lyrics of the bolero can be found throughout popular music, especially Latin dance music. Bolero music has also spread to Vietnam . In

1054-416: 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

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1088-456: The two beats four and one) is executed with a hip movement over the standing foot, with no foot-flick. The dance known as bolero is one of the competition dances in American Rhythm ballroom dance category. The first step is typically taken on the first beat, held during the second beat with two more steps falling on beats three and four (cued as "slow-quick-quick"). In competitive dance

1122-505: The working class at the time. This genre became colloquially known as yellow music , in opposition to the nhạc đỏ ( red music ) endorsed by the Communist government of Hanoi during the era of the Vietnam War . As a result of North Vietnam winning the war, the music was banned in 1975. Those caught listening to yellow music would be punished, and their music confiscated. After

1156-439: Was heard of the condemnation of the fandango. 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

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