Sevilla, España
En la localidad sevillana de Herrera se tenían noticias de un fandango local, ya prácticamente olvidado, el cual, se sospechaba, pudiera guardar similitudes con el conocido como ``zángano de Puente Genil'', localidad vecina con la que compartió este tipo de bailes, cuyos cantes eran todavía fandangos de naturaleza folclórica. El único cantaor que lo recordaba era Pedro de la Timotea que, por fortuna, lo dejó registrado en una grabación casera. Analizada en detalle, se comprueba que su melodía coincide en gran medida con la del fandango atribuido a José Pérez de Guzmán, lo que plantea la hipótesis de que este se hubiera basado en la melodía del fandango herrereño para crear el suyo.
In the town of Herrera (Sevilla), there was news of a local fandango, practically forgotten, which, it was suspected, could bear similarities with the one known as “zángano de Puente Genil”, a neighboring town with which he shared this type of dance when both songs were still considered folkloric fandangos. Nearby locality it shared this genre of dances with, when they still were folcloric fandangos. The only cantaor who remembered him was Pedro de la Timotea who, fortunately, recorded it on a home recording. Analyzed in detail, it is found that its melody coincides to a great extent with that of the fandango attributed to José Pérez de Guzmán, which raises the hypothesis that he was based on the melody of the fandango from Herrereño to create his own.
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