In Spain, the fandango has a polyrhythmic character. On one hand is the
binary rhythmic pattern of the singer (6/8, similar to Jota), and on the
other hand is the musical accompaniment in ternary rhythm (3/4). These
rhythms merge to create one of the most unique styles of Spanish popular
music. In fandangos published in Spain from the early eighteenth century
to the late nineteenth century, we can detect an evolution in the
accompaniment that, upon close analysis, allows us to better understand
the nature of this musical genre. In this presentation, I focus on the
polyrhythmic nature of fandangos, which has led to a number of musicians
to write it sometimes in binary meter and other times in ternary meter.

Paper Book: http://www.cambridgescholars.com/the-global-reach-of-the-fandango-in-music-song-and-dance

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