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has_evidence_text I don’t have to tell you that I’ve observed an enormous number of things: the tango, a kind of dance where the woman imitates the pitching of ships with her behind, that is the only on in 2 time; all the rest are ¾ (Seville) or 3/8 (Málaga and Cádiz). In the north it is different, there they have a very strange kind of 5/8. The 2/4 of the tango is always in the habanera style. This is the picture: one or two women dance, two fellows strum any old thing on a couple of old guitars, and five or six women howl, in the queerest voice, triplets impossible to write down since they change the tune every second, and they yell, I say, little bits of tunes like this: [excerpt of the melody] / with syllables, words, grace notes; they clap their hands and beat groups of eight notes accenting the third and sixt, yelling: “Anda! Anda! La salud! eso es la Mariquita! gracia, nacionidad! Baïla, la chiquilla! Anda! Anda! Consuelo! Olé! La lola! Olé, la Carmen! Que gracia que elegancia!” All this to get the young woman to dance, it’s too wonderful, it makes you dizzy! / The sevillana is different; it is ¾ in this sort of style (with castanets): [excerpt of the melody] / All this is so extraordinarily charming with two grace notes, a pair of castanets, and a guitar. The malgueñas cannot and always ends on the dominant. The guitar provides a 3/8, and the old codger (when there is one) is always seated beside the guitarist; he holds a cane between his legs and beats out the 3/8 on this rhythm: [excerpt of the rhythm] / It is always syncopated, by instinct the women themselves syncopate the measures in a thousand ways, and during the dance their feet tap out an unheard-of number of rhythms; their heels tap things like this [excerpt of the rhythm made with their heels] / all this with the heels, it is rhythm and dance. The tunes the guitar scratches out are no good, anyway you can’t hear them with those shouts of “Anda! Olé! la chiquilla! que gracia! que elegancia! Anda! Olé! Ole! la chiquirritita,” and the more they shout, the more the dancer laughs, and all her teeth show, and she throws herself around and is crazy with her whole body.
has_medium Medium.Live
initial_graph temp
pages 269
Approved 2015-11-12T14:23:36.000Z
Submitted 2015-02-23T13:20:15.000Z
Type Experience
Comment Letter from Emmanuel Chabrier to Édouard Moullé, Granadada, 4 November, 1882.
place Spain
is_reported_in Letters of composers : an anthology, 1603-1945 / compiled and edited by Gertrude Norman and Miriam Lubell Shrifte.
agent Emmanuel Chabrier
Subject Tango /sevillana / malgueñas
time 1882