History of Pasodoble

Ballroom dancing

Traditional

Pasodoble

History of Pasodoble

The most genuine pace and representative of the Spanish music is the pasodoble.

Source

It seems that the pasodoble tonadilla comes from the scenery, which was a composition in the first half of the eighteenth century served as the conclusion d'oeuvres and dancing stage and then from mid-century was used as musical interludes between acts of comedies.
Specifically, and establishing five stages (between 1750 and 1850) in the development of tonadilla, in the third between 1770 and 1790 when the tonadilla had reached maturity and height, would be the moment where single person born tonadilla the forerunner of varieties that would appear in the following centuries, among which we find what we now know different pasodobles

According to Manuel Delgado-Iribarren (author of The Bulls in Music - COSSIO-) pasodoble come from the type of a military march, compass binary (double-step), which had become widespread in Spain in the eighteenth century, if well then, thanks to such expression would have been adopted by local bands as part of the repertoire with overtures, fantasies, mazurkas ...

In this way the primitive military march, warrior, epic, would have its climax during the War of Independence to gradually be introduced by the civilian population and its variants to play melody dancer bullfighter.

These developments as well said Manuel Delgado Iribarren, is nothing more than a hypothesis because there are insufficient data to be rigorously checked.

After this stage purely military (XVIII century) came the phase of incorporating popular elements (in the nineteenth century), with the addition of the harmonic elements seguidilla, Jack, bolero, flamenco ... and especially the incorporation of the Andalusia cadence.

The final phase would be the development of the technical work directing the pasodoble to dance, theater, and song couplet.

Evolution

In either case, comes exclusively from the scenic tonadilla (José rise) if the origin are those most remote primitive dances of the eighteenth century (by Pedro Mariano Sanz), coming from a specific type of military march (option Manuel Delgado Iribarren-), or if the origin and evolution are all these words, comes from the tonadillas and dances of the seventeenth and eighteenth centuries who later received the influence of military marches, the assumption is probably more accurate, as some is that the composers of the time, do not forget to include their works in pasodobles and all zarzuelas between mazurkas, polkas, or jotas romances with some pasodoble.

This genre was an extraordinary fortune in the lyric theater as it is easy to review the very high percentage of zarzuelas which include action to put the work in the world of bullfighting.

This happens in "Bread and Bulls," "Sergeant Frederick", "The barberillo Lavapies, The miller Subiza" (this work belongs to the famous "Salve Marinera"), "La Gran Vía", "Water azucarillos and Spirit, "" the bat ", and later in the twentieth century and in" Don Manolito, "" The bunch of roses, "" The Celestera "," Windmills, "" The Jewish boy ", zarzuela in which we hear of Spain come ...". Also included in their pasodobles zarzuelas, Amadeo Vives in "General", Ruperto Chapí "El Tambor de Grenadiers," "The bunch of roses," Federico Moreno Torroba in "Chulapona.

But the world of bullfighting, not only is present in the operatic genre, has also come to the opera, and here the example is the immediate Song "from Carmen Toreador" from Bizet George whose last act is nothing less than the Laza de Toros de la Maestranza in Seville, "El Gato Montes", by Manuel Penella, premiered to great acclaim both in Spain and across the ocean.

Moreover, the authors of classical music have been attracted by the Tauromaquia and Joaquin Turina wrote "The Prayer of the bullfighter," that is not a pasodoble but is inspired by intimate moments before the celebration, in which the bullfighter prays in the chapel. Andres Amoros Bulls and in his book Culture (Espasa Calpe 1987) as reflected from the windows of your hotel Madrid, Igor Stravinsky fascinated heard the echoes of distant bright pasodobles