​FANDANGO. An Andalusian dance, a variety of the Seguidilla, accompanied by the guitar and castanets. In its original form the fandango was in 6-8 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 . In this shape it closely resembles the seguidilla and bolero. One Fandango tune is given by Hawkins (Appendix, No. 33). Another has been rendered famous through its partial adoption by both Gluck and Mozart—the former in his Ballet of Don Juan, the latter in Figaro (end of Act 3). It is given in its Spanish form by Dohrn in the Neue Zeitschrift f. Musik (xi. 163, 7) as follows:—

The rhythm of the castanets was

Mozart's version is known and accessible; Gluck's will be found in the Appendix to Jahn's Mozart.

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 a 'godless dance.' Just as the Consistory were about to prohibit it, one of the judges remarked that it was not fair to condemn any one 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 was heard of the condemnation of the fandango.

Similar dances to the fandango are the Tirana, the Polo, and the Jota Arragonesa.