Best Mariachi Music - YouTube Best Mariachi Music Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Mar 16, 2011 Mariachi is a genre of music that originated in the State of Jalisco, in Western Mexico. It is an integration of stringed instruments highly influenced by the cultural impacts of the historical development of Western Mexico. Throughout the history of mariachi, musicians have experimented with brass, wind, and percussion instruments. In addition, sociohistorical factors have influenced the repertoire in terms of the performance of diverse regional song forms as well as the evolution of the performance attire. Mariachi is important to the study of Mexican music because, as an ensemble created during the colonial period, it found its essence during the postcolonial era, blossomed during the nationalist era, and made a global impact during contemporary times.

Throughout this development, particularly since the nationalist era, mariachi music has become emblematic of Mexican music by appropriating various Mexican regional song forms, experimenting in popular radio programs, appearing in the first Mexican films, and performing during presidential campaigns (Loza 1993, Turino 2003, Sheehy 2005, de la Mora 2006, Jáuregui 2007). The term "Mariachi" is said to be an adaptation of the French word for marriage or wedding "mariage" as this type of musical formation used to play at such events. This traces from the 19th century during the reign of Maximilian I of Mexico (Archduke Maximilian of Austria) and the influence of Napoleon III over Mexico. The mariachi ensemble generally consists of violins, trumpets, a classical guitar, a vihuela (a high-pitched, five-string guitar), a guitarrón (a large acoustic bass) and, on occasion, a harp or two. They dress in silver studded charro outfits with wide-brimmed hats. The original Mariachi were Mexican street musicians or buskers.

Many mariachis are professional entertainers doing paid gigs in the mainstream entertainment industry. Professionals are normally skilled at more than one instrument, and they also sing. They sometimes accompany ranchera singers such as Vicente Fernandez or even pop star Luis Miguel. Although ranchera singers dress in a traje de charro (Charro suit), they are not mariachis. Besides the typical instrumentation, mariachi music, as well as many other forms of traditional Mexican music, is also noted for the grito mexicano, a yell that is done at musical interludes within a song, either by the musicians and/or the listening audience. Category excerpts from --- Mexico, The Meeting of Two Cultures 1991 Higgins and Associates, New York, NY for The 7-Eleven Hispanic Arts Festival (Arts for Business) The Wedding of Musical Traditions Prior to the arrival of Cortes the music of Mexico, played with rattles, drums, reed and clay flutes, and conch-shell horns, was an integral part of religious celebrations.

Quickly, however, as Christianity spread, in many areas these instruments gave way to instruments imported by the Spanish: violins, guitars and harps, brass horns, and woodwinds. The Indian and mestizo musicians not only learned to play European instruments, but also to build their own, sometimes giving them shapes and tunings of their own invention. Music and dance were important elements of Spanish theatrical productions, enormously popular throughout the Spanish speaking world during the colonial period. The typical Spanish theatrical orchestra of the sixteenth, seventeenth, and eighteenth centuries was comprised of violins (usually two), harp and guitars (or guitar variants). It was from this group that several of the most distinctive regional ensembles of Mexico developed, including the Mariachi. Mariachi - What Does It Mean? Musicologists and folklorists have argued for years over the origin of the word - Mariachi. The explanation that appears most frequently - especially on record jackets and in travel brochures - is that it is a variation of the French word mariage, meaning wedding or marriage, and comes from the time in the nineteenth century when Maximillian, a Frenchman, was Emperor of Mexico.

According to this myth the Mariachi was named by the French after the celebration with which it was most commonly associated. But this explanation, always regarded as highly doubtful by linguists, was totally discredited recently when a use of the word was found that predated the time when the French arrived in Mexico. Currently, however, the best scholarly opinion is that the word mariachi has native roots. One theory is that it comes from the name of the wood used to make the platform on which the performers danced to the music of the village musicians. But whatever its true source - and the truth may never be discovered with absolute certainty - the word today has one meaning that is crystal clear: Mariachi means on of the most exciting and enchanting musical ensembles found anywhere in the world. The Unique Make-Up of the Mariachi Ensemble In the complete Mariachi group today there are as many as six to eight violins, two trumpets, and a guitar - all standard European instruments.

Then there is a high-itched, round-backed guitar called the vihuela, which when strummed in the traditional manner gives the Mariachi its typical rhythmic vitality; a deep-voiced guitar called the guitarró n which serves as the bass of the ensemble; and a Mexican folk harp, which usually doubles the base line, but also ornaments the melody. While these three instruments have European origins, in their present form they are strictly Mexican. The sound that these instruments combine to make is unique. Like the sarape, which often used widely contrasting colors side by side - green and orange, yellow and blue - the Mariachi used sharply contrasting sounds: the sweet sounds of the violins against the brilliance of the trumpets, and the deep sound of the guitarró n against the crisp, high voice of the vihuela; and the frequent shifting between syncopation and on-beat rhythm. The resulting sound is the heart and soul of Mexico. The Beginning of the Mariachi We Know Today Although the origins of Mariachi music go back hundreds of years, in the form we know it the Mariachi began in the nineteenth century in the Mexican state of Jalisco - according to popular legend, in the town of Cocula.

The Mariachi was the distinctive version of the Spanish theatrical orchestra of violins, harp and guitars which developed in and around Jalisco. In other areas such as Veracruz and the Huasteca region in the northeast, the ensemble evolved differently. By the end of the nineteenth century, in Cocula the vihuela, two violins, and the guitarró n (which had replaced the harp) were the instruments of the Mariachi. The principal music played by these early Mariachis was the SON, the popular music of the day. A mixture of folk traditions from Spain, Mexico, and Africa, the son was found in many regions of the country. The son from Jalisco is called the son jalisciense. La Negra is the best-known example. Sones from other regions include the son jarocho or veracruzano, from the region around the Gulf port of Veracruz; and the son huasteco, from northeastern Mexico. The most famous example of the son jarocho is La Bamba . A typical son huasteco, also known as the huapango, is La Malagueñ a.

It is interesting to note that there are some sones, such as El Gusto, which are common in all three regions and clearly date back to a common ancestor. Mariachi and Dance It is important to remember the son-and other types of Mariachi music- is not just music to be played and sung. From the very start it was music to be danced. The traditional dance technique associated with both the son jalisciense and son jarocho is the zapateado, a distinctive type of footwork that originated in Spain. When dancing the zapateado the performers skillfully drive the heels of their boots or shoes into the dance-floor, pounding out swift, often syncopated rhythms which complement the different rhythm of the musical instruments. The zapateado can literally reduce even the most resistant dance floor to splinters because of the force with which it is danced. Each of the regional variations of the son has its traditional style of dance. The huapango or son huasteco, for instance, like the son jalisciense and son jarocho, was originally danced on wooden platforms, in some areas mounted on earthen jugs. To dance the huapango the couples line up in opposing columns.

The upper part of the body is held perfectly erect as the feet perform rapid, intricate, shuffling maneuvers. Today it is sometimes performed with a glass of water on the head to show off the dancer's incredible muscular control. The lyrics of the sones frequently describe country life: in particular, the plants, animals and people of the region. These lyrics are highly suggestive, often using imagery of the courtship of farm animals to describe the relations of men and women. In the dance the movements of the performers often represent the farm-yard courtship described in the verses of the sones. Another kind of music related to the son and intimately connected with a particular dance is the jarabe. The jarabe, which has many regional variations, is really a medley of dance pieces, including sones, danzas, jotas, and polkas. No discussion of Mariachi dance would be complete without mentioning the famous Jarabe Tapatio - the Mexican Hat Dance. Associated with Guadalajara in the state of Jalisco, it has become the national dance of Mexico. It is highly stylized, with prescribed movements and costumes.

The male wears the classic outfit the Jalisco horsemen or charro, while the female the China, wears a hand-woven shawl and a bright sequined skirt. By the 1930's Mariachi musicians had begun wearing the same traje de charro, consisting of a waist-length jacket and tightly fitted wool pants which open slightly at the ankle to fit over a short riding boot. Both pants and jacket are often ornamented with embroidery, intricately cut leather designs, or silver buttons in a variety of shapes. Prior to the 1930's, photographs show early Mariachis dressed in calzones de manta, and huaraches, homespun white cotton pants and shirts and leather sandals, the clothes worn by most peasants in Jalisco. Coming of Age: Mariachi Vargas Although the roots of the Mariachi go back hundreds of years, there are no Bachs or Beethovens in its early history because Mariachi music was the music of country people. Until the 1930's Mariachi groups were local and semi-professional. They were almost entirely unknown outside their own region.

This began to change about 60 years ago, when the Mariachi Vargas de Tecalitl&#225n n, founded by Gaspar Vargas in 1898, went from Jalisco to Mexico City. They were invited to play at the inauguration in 1934 of populist President Lá zaro Cá rdenas, one of whose great interests was to foster the native culture of Mexico. Catching the Presidents enthusiasm, urban sophisticates took the folk arts to their hearts, and the Mariachi Vargas instantly became the toast of the town. The initial success was only the beginning. Silvestre Vargas, who had taken over from his father as leader of the Mariachi Vargas in 1928, soon hired a trained musician, Rubí n Fuentes, as musical director. Fuentes, still actively involved with the Mariachi Vargas more than fifty years later, is one of the towering figures in the development of the Mariachi.

With the help of Silvestre Vargas, he standardized the arrangements of many of the traditional sones composed many exceptional new huapangos, and wrote arrangements for many of the legendary song writers and singers of his generation, including Pedro Infante , Miguel Aceves Mej&#237a , Lola Beltr&#225n , and José Alfredo Jim&#233nez. By the 1950's he insisted that all his musicians read music. These innovations changed the way Mariachi music moved from one group to another. Gone was the total reliance of the musicians on their ears to pick up new songs, and techniques. With this giant step toward professionalism coinciding with the development of recordings, radio and film, the Mariachi Vargas was able to become the ideal that all other groups would emulate. With the addition of two trumpets, a classical guitar and more violins, by the 1950's the Mariachi ensemble had become a complete, adaptable orchestra, with the ability to retain its traditional base while it was assimilating new musical ideas and styles. The importance of Mariachi Vargas cannot be overestimated. Its arrangements have become the definitive statements of what the Mariachi should be.

The Mariachi at Special Occasions Mariachis often help celebrate the great moments in the lives of the Mexican people. With the serenata (serenade), the Mariachi participates in the rite of courtship. In a society where the young members of opposite sexes were kept apart, the serenata was a means of communication by which a young man could send a message of love to the woman of his heart. In many areas of Mexico, it is not unusual to be awakened by the sound of Las Mañ anitas, the traditional song for saints days, or birthdays. The Mariachi is usually positioned strategically on the street beneath the window of the festejada, but the sound of its music echoes through the whole neighborhood. Mariachis are also commonly hired for baptisms, weddings, patriotic holidays, and even funerals. It is not unusual for the deceased to leave a list of favorite songs to be sung beside the grave at burial. Mariachi music has been incorporated into the Roman Catholic Church's most sacred ritual: the Mass.

The Misa Panamericana is a Mariachi folk mass, sung in Spanish, that uses traditional instruments to create vivid new interpretations of the traditional elements of the service: Angelus, Kyrie eleison, Gloria, Alleluia, Offertory, Credo, Sanctus, and Agnus Dei. The first Mariachi Mass was the concept of a Canadian priest, Father Juan Marco Leclerc, and has been celebrated in Cuernavaca since 1966. It originally took place in a small chapel, but news of it spread so rapidly, and the crowds grew so large, that the regular Sunday Mariachi Mass had be moved to the Cathedral of Cuernavaca. It is now frequently performed throughout Mexico, and In many areas in the United States where people of Mexican origin live. Webjefa: The Albuequerque Mariachi festival has a wonderful write-up on their inductees to their Mariachi Hall of Fame Mariachi Facts | Interesting facts about Mariachi Musicians The Mariachi at Special Occasions Mariachis often help celebrate the great moments in the lives of the Mexican people. With the serenata (serenade), the Mariachi participates in the rite of courtship.

In a society where the young members of opposite sexes were kept apart, the serenata was a means of communication by which a young man could send a message of love to the woman of his heart. In many areas of Mexico, it is not unusual to be awakened by the sound of Las Mañanitas, the traditional song for saints days, or birthdays. The Mariachi is usually positioned strategically on the street beneath the window of the festejada, but the sound of its music echoes through the whole neighborhood. Mariachis are also commonly hired for baptisms, weddings, patriotic holidays, and even funerals. It is not unusual for the deceased to leave a list of favorite songs to be sung beside the grave at burial. Mariachi music has been incorporated into the Roman Catholic Church's most sacred ritual: the Mass. The Misa Panamericana is a Mariachi folk mass, sung in Spanish, that uses traditional instruments to create vivid new interpretations of the traditional elements of the service: Angelus, Kyrie eleison, Gloria, Alleluia, Offertory, Credo, Sanctus, and Agnus Dei.

Back to Top Although mariachis are hired to play at events such as weddings and other formal occasions, such as a quinceañera (fifteenth birthday celebration for girls), they are very often used to serenade women because many of the songs in a typical repertoire have as a theme the desire to touch the heart of the opposite sex. Some of the songs are sad; others are about how much that special someone appreciates your company. Trios of mariachis can be found for hire in different places at night (the best known venues are Plaza de los Mariachis in Guadalajara and Plaza Garibaldi in mMexico City) for the purposes of serenading. Mother's days are also another popular occasion for mariachis. Hiring prices can vary immensely. Large parties, weddings or special events should not go without the presence of Mariachis, as people will expect them. Tourists frequently confuse mariachis with all types of buskers seen in Mexico, such as jarochos. Mariachi refers to musicians who dress and play in a style typical of the Mexican state of Jalisco, although the style and music played has spread far beyond the limits of Jalisco and jalisciense music itself.

Generally a guitarrón and a vihuela must be included for a group to be considered a mariachi. Back to Top The mariachi tradition has been extensively influenced from Mexico to the United States, Argentina and to other countries, particularly Colombia. Colombian music is highly influenced by popular Mexican mariachi traditions. The American composer Jeff Nevin has composed a Concerto for Mariachi and Orchestra, which was premiered by the La Jolla Symphony. Mariachi Vargas de Tecalitlan is one of the oldest mariachi's in mexico's history. Their sones are what makes them unique. Luis Miguel. Mariachi music gets its characteristic sound from the various Jalisco sons (sones jaliscienses) that formed the basis of the early ensembles repertoire. There are two principal catgories of son in Jalisco: those from the South (sones del sur) and those from the North (sones alteñeos). The sones in the South were influenced by African music brought to the coastal regions by slaves who worked sugar plantations there during colonial times, and by the folk traditions of the high plateaus of the tierra caliente. The sones in the North were influenced by the criollo ensembles popular on haciendas.

The mixture of the rhythmic complexity of music from the south and the clog-dance driven structure of the music from the north came together to form a village son jalisciense in the larger towns of central Jalisco, and from that the mariachi sound emerged. Technique Traditional mariachi music is made up of a combination of song-specific melodies and common tropes (introductions, bridges, and codas). The presence of the tropes allows for an ensemble to play a piece without everyone in the ensemble needing to know it well. Much of the ensemble can play basic obligato parts for much of any given piece and still demonstrate virtuosity in the trope figures. Mariachi violin music is typically played in fixed positions, and the positions are generally limited to I and III. Most mariachi pieces are made up of collections of smaller pieces, and with respect to the violin, it's common to include some in the first and some in the fifth position. For example in the famous Jarabe Tapatío, the first two sections are in first position, followed by two section in third with a short bridge in first, after which the piece finishes in first. The nearly exclusive use of these two relatively stable positions facilitates playing together in tune.

Attire Mariachis play the vihuela and the guitar. The national drink of Mexico, Tequila, is produced in the Jalisco town of the same name. The Jarabe Tapatio, (Mexican Hat Dance), is the national folk dance, but named for Guadalajara, the capitol of Jalisco. The Mariachi, musical groups that symbolize Mexico, began in Cocula, Jalisco. The national sport of Mexico is the Charreria, (rodeo) popularized by Charros (horsemen) from vast Jalisco ranches. The most recognized symbol of Mexico is also associated with each of these great traditions of Jalisco. It is the elegant snugly tailored black suit and vest, extravagantly trimmed with embroidery and silver buttons; worn with a soft tie, revolver and wide brimmed sombrero, the Traje de Charro.

The musicians’ background was from working-class and rural towns, so the first Mariachis dressed in a peasants attire, which included large straw sombreros with a chin strap, a hat band, red sarape or black wool blanket over the shoulder, long straight-cut muslin pants, a cotton shirt of the same material called manta, a red sash around the waist, and simple huaraches (sandals). The black wool blanket and the red sash are the only added item. The traje de charro evokes gentleman landowners and talented cowboys (charros) of the time of Maximillian's rule. Mexico's history, complexity and contrasts are vividly illustrated in the tradition of this suit that pays homage to and demands the respect of the men who wear it. This suit reflects the nation's pride, passion and respect for heritage, custom and tradition. While the same style suit is sold to Charros, Mariachi groups, politicians, folkloric dance troupes, bridegrooms and popular singers, it is only truly a Traje de Charro (Charro suit) when worn by members of the prestigious Charro organizations.

Stores specializing in clothing for the horseman advertise the same outfit as the Traje de Jalisco, the Traje de Charro and the Traje de Mariachi. The suits may look identical, and even merchants may see it as the same suit. But, the men who wear the suit know the differences that have caused a 70-year bitter controversy over the wearing of Charro clothing by non-Charros. The National Federation of Charros, and The National Association of Charros were formed in the early 1900's to maintain the authenticity of the clothing of the Charro, to license Charros and supervise the events included in competitions. These organizations seek to protect the historic tradition and patriotic history by enforcing dress and behavior codes. When Mariachis and performers vary the color, design and accessories of the Charro, they challenge over 400 years of custom.

The Charros have complained that others are wearing the Traje de Charro casually and as "totally deformed, outlandish and grotesque costumes." During WWII, President Manuel Avila Camacho declared the Charros the first reserve of the Ejercito Mexicano (Mexican Army) and charged them to continue their training, customs and tradition in order to defend their country if necessary. This honor was conferred on the Charros along with the right to carry a side arm to commemorate their valiant efforts to protect Mexico in several hundred years of battles and revolutions. During Colonial times and for several more centuries, the ranch workers and musicians wore white cotton trousers and shirts with huaraches (woven sandals) and big woven hats with pointed crowns. Fine fabrics, dyes and buttons were reserved by law for the use of the Spanish landowners who wore riding costumes from the Salamanca, Navarra and Andalucia regions of Spain. Their sumptuously elegant short, tight pants and jackets were adorned with silver ornaments and worn with richly embroidered shirts; boots and flat-brimmed hats.

In 1619 the laws forbidding Mestizos and Indios to ride horses under penalty of death were lifted and workers eventually also gained the right to wear better fabrics and to adapt their clothing to be practical for riding. The rancheros first developed suits using available coarse fabrics, making the pant legs wider and adjustable with pleats on the sides. They buttoned on chivarras (goat hide chaps); and developed leather tapabalazos (bullet protection for chest and legs) to use in battle). For weekends and competitions, they decorated their plain clothing by appliquéing suede designs and adding embroidery and leather buttons to shirts, pants and jackets. How typical of the ambivalence of Mexico that the Emperor of the country was the greatest promoter of the Traje de Charro and a favorite of the country's horsemen because of his riding ability; but became so unpopular politically due to his association with the French that he was executed by firing squad. The Archduke Maximilian of Hapsburg frequently wore the elegant black Charro suit with silver buttons and was the first to use the outfit in place of a tuxedo at formal events of state.

Today's connection between the clothing of the Charro and the Mariachi didn't begin until the early 1900's when Miguel Lerdo de Tejada, dressed his ballroom orchestra as Charros in order to Mexicanize their image. Groups playing Mariachi music wore the popular style of the times until the 1930's when they adopted the Traje de Charro and groups began dressing alike. Silvestre Vargas, founder of the world-famous Mariachi group from Tecatitlan frequently spoke of the thrill he experienced when he could afford to dress his group in inexpensive simple Charro-like suits with cheap brass decorations, wide brimmed hats and boots. The Mariachi continually varied the outfit, until the Charros exploded in a fit anger at the misuse of the national costume of Mexico. They argued that the Charro suit belonged to the horsemen of the country, and that musicians and others should be forbidden to wear it. From this attitude has evolved a saying among the Charros.

A Charro whose outfit does not comply with the rules of the organization, is said to be "wearing only the suit of the Mariachi, not that of the Charro." Charros are extremely offended if mistaken for Mariachis, although today's musicians follow more standards and rules to properly represent the suit. While they know it is not acceptable to ignore the Charro's regulations, some musicians admit to wearing an ensemble that is a little "different" than the Charro. Mariachis often wear vividly colored, custom embroidered, permanently tied monos, the Charro is required to tie his corbata from a silk rectangle of specific dimensions. A Charro is excluded from competition if he does not wear a precisely cut and styled shirt with leather, wood or silver buttons on the cuff-less sleeves. Mariachis often wear "civil" dress shirts. The huge-brimmed sombrero of Mariachi and the Charro is made from several materials in a variety of price ranges. The lower priced hats range from the touristy flat-brimmed cardboard covered with garishly embroidered cloth to woven palm covered with gamuza (suede) or fabric and decorated. The best hats are made from wool, or the most expensive rabbit hair felt.

The styles worn by the Charro are the Pachuca and the San Luis Moderado. Both feature the back brim rolled up and four deep dents in the tall crown to protect the rider's head in a fall. The forrador (border) at the edge of the brim and a tall design around the crown are embroidered or appliquéd in suede. The galones (silver disks) often are placed on the sides of the crown. A third style of sombrero, generally worn by the Mariachi, is called the Cocula. The brim is lifted in front and rolled high in the back. Only two dents are pinched into the crown, as the musician does not depend on protection from falls, sun or rain. The Traje de Charro varies according to the activities of the man who wears it. Always included are the sombrero, Charro-cut pants and shirt, leather belt with holster and revolver and ankle high boots with an elevated riding heel and spurs. The fabrics, colors, decorations, and use of optional jacket and vest vary with the formality of the suit and of the occasion. The Faena or Corporal is a simpler outfit for work or competition.

It includes pants with front pockets, and a Charro shirt. Boots, belt and holster and straw or felt hat complete the work suit, although a jacket or vest may be added. This more durable outfit is made from sturdy fabrics like twill, denim, cotton, wool, leather and suede. The shirt is always worn closed at the neck and must include a tie if worn in competition. Pants have three buttons of bone, wood or horn, often toggle shaped on each leg, and on the cuffless shirtsleeves. Embroidery or appliquéd suede called Greca may be added to the shirt and pants. Another popular form of inexpensive decoration is forming scrolling designs in sutach (narrow trim) on sleeves, sides of pants, shirt or jacket back. These more ornamental suits are often used for first communions, by beginner Mariachi groups, and for fiestas or folkloric dance groups. The striking Cachiruleado Suit is richly appliquéd with faux or real suede on the sleeves, lapels, and sides of pant and is often worn by performers. The Media Gala suit is made from dark colors of wool, suede or gabardine, and is worn with jacket and optional vest.

With it are boots in brown, tan, gray or black leather with matching belts and holsters, and hats. Mariachi groups and other entertainers, who choose suits in a variety of colors and with more extravagant embroidery, and Greca designs, wear the Media Gala, as the embroidery replaces the more expensive buttons down the length of the legs. The national costume of Mexico is the Gran Gala Traje de Charro, which is used for parades, meetings, performances or church services. The dark suit is worn with a full set of silver or gold Gala or botonadura (buttons connected with chains down the outside of the leg), a set of brooches closing the front of the jacket, tie, black boots, and white or gray sombrero frequently embroidered in silver or gold metallic designs. The style of the Gran Gala and the extremely formal Traje de Etiqueta or Ceremonia is the same and both feature the full set of leg buttons. The only difference between the two suits is the quality of the fabrics and accessories. When wearing the Etiqueta or Ceremonia, a silver plated revolver, black patent leather boots, belt and holster, and tie in black, white or red silk are required.

It is used as a tuxedo, for weddings, funerals or other very formal occasions. Riding a horse wearing formal attire is not permitted, unless a short procession to or from the church is part of a wedding or funeral. The horseman, the musician and the dancer wear the Mexican national costume today with equal pride. The Traje de Charro is a tribute to the Mexican male, his taming of the horse and of the land. It celebrates his ability to survive conquerors, invasions, revolutions and change. It recalls his patriotism and strength when protecting and defending his country and his home. It commemorates the artisans of the country who combine their skills and original designs to produce in each suit a work of art. It recognizes above all the inspiration, great professionalism and respect for tradition the entire country has for a richly revered symbol of Mexican strength and masculinity. Instrumentation Current mariachi instrumentation includes a guitarrón, a vihuela, a guitar, violins, and trumpets. Some groups might use a guitarra de golpe, a mariachi harp or even a flute.

From the 70's some singers have occasionally added other instruments as accordion, organ, keyboard, harmonica, saxophone and even drums, although they were considered additions, never part of the mariachi instrumentation itself. During the last years ranchera singers as Alejandro Fernandez, Pablo Montero and Pepe Aguilar have made fusions of mariachi with orchestra and drums/percussions giving birth to a mariachi/pop ballads crossover style. Venue The Mariachi music became the symbol of the Mexican Revolution (1910-1920) because it represented the Mexican’s national spirit or the Spanish-indigenous blood of Mexican ethnicity. The Mariachi has different forms of music such as son, cancion ranchera, bolero ranchero, huapango and polka. As well, Mariachi is poetic using the copla and seguidilla forms. Mariachi music is played for serenades, baptism, birthdays, quinceañeras, weddings, Mother’s Days, funerals, conventions, store openings, company parties, civic celebrations, political campaigns, Mass, or in restaurants, bars, theaters, radio and television shows. This music is so anchored in Mexico’s history that it is found in all types of celebration.

Over time, this popularity has divided Mariachi music into two types: the authentic folk mariachi which consists of only string instruments and the commercial urban Mariachi which has changed the original music the mariachis played. The music was at first introduced by men; today, women mariachis have been on the rise. This came with the popularity of Mariachi music among the Mexican community living in the United States, which allowed women to be part of this cultural phenomenon. Still, the presence of women in Mariachi bands within Mexico's borders remains scarce. Mariachi Music Genre Overview | AllMusic Latin » Mexican Traditions » Mariachi Mariachi is an urban style of son jarocho that originated in the central part of Mexico and was found from the city of Guadalajara to the south-central state of Michoacan. The origin of the name has been attributed to its being a derivation of the French word "marriage," but it may be a combination of the name "Maria" with the Nahuatl diminutive suffix "chi" (Nahuatl was an indigenous Indian language widely spoken in the area).

The original ensemble consisted of two violins, a vihuela (also known as guitara de golpe -- a regional name for a small guitar with five strings), jarana (a slightly larger five-string guitar), and harp. In the 20th century, guitarron (a large, acoustic bass guitar with four strings) replaced the harp, which was awkward to transport. In the 1930s, two trumpets were added, and the resulting ensemble -- two trumpets, two violins, jarana, vilhuela, and guitarron -- has been popularized through films, radio, TV, and sound recordings. There are professional and semi-professional mariachi groups, but the main purpose of these groups is to make a living playing music rather than being attached to particular community functions. Aside from the sound of a mariachi band, they are most recognizable for their "uniform," which is quite ornate. Because mariachis usually make their living by strolling from place to place in search of good money -- on street corners or restaurants -- their instruments are portable. Mariachis are a common sight in the Zona Rosa and the Plaza Garibaldi in Mexico City.

Entry on the word mariachi from The Latino Encyclopedia Entry on the word mariachi from The Latino Encyclopedia. (New York: Marshall Cavendish Corp, 1996) Article by Jonathan D. Clark MARIACHI (1) A specific type of Mexican musical group or ensemble. (2) An individual musician in a mariachi group (synonym: mariachero). (3) An adjective denoting a genre or style related to the mariachi, e.g., mariachi music, mariachi trumpet. Since the 1930s, the mariachi has been widely considered the quintessential Mexican folk-derived musical ensemble, and has become an institution symbolic of Mexican music and culture. Mariachi groups are currently found throughout the Americas and in Europe. ORIGINS. Professional musicians accompanied Hernï¿½n Cortï¿½s when he arrived in what is now Mexico in 1519. Among their instruments were the harp and the vihuela, prototypes of those later used by the mariachi. Natives, who had their own highly developed musical traditions, quickly mastered European musical practices. With the importation of large numbers of black slaves, African music was also brought to Mexico during the early colonial period.

Many regional traditions of mestizo folk music, including that of the mariachi, resulted from the ensuing cultural and musical blending of indigenous and foreign elements. The mariachi is native to a region of western Mexico that includes what are today the states of Jalisco, Nayarit, Zacatecas, Aguascalientes, Guanajuato, Michoacan, and Colima; extending as far north as Sinaloa and Durango and as far south as Guerrero. Despite frequent attempts to attribute it to a specific state or town, the exact birthplace of the mariachi is unknown. EARLY HISTORY. The early development of mestizo folk music in Mexico is largely undocumented, making speculative any theories on the early evolution of the mariachi. The earliest known incontrovertible reference to a mariachi appears in a letter written by priest Cosme Santa Anna in 1852, although the word can be found earlier as a place-name.

Mariachis documented during the second half of the nineteenth century in central western Mexico were commonly associated with the rural fiesta or fandango, and with the tarima or wooden platform upon which couples would dance sones and jarabes, the two most important genres of the early mariachi repertory [see related entries]. Early mariachis wore peasant garb, and had little concern for dressing alike. After the Revolution of 1910, however, modest uniforms began to appear. When for the first time mariachis could afford to outfit themselves elegantly, they chose the suit of the horseman or traje de charro. The gala version of this suit wom by contemporary mariachis-with its tightly-fitting ornamented pants, short jacket, embroidered belt, boots, wide bow tie, and sombrero-was once the attire of wealthy hacienda owners. [see charro). ETYMOLOGY. The consensus of modern scholars is that the word mariachi is indigenous to Mexico. The now-extinct Coca language of central Jalisco is that most frequently cited as its probable source.

Legend erroneously attributes the word to the French Intervention of the 1860s, explaining it as a corruption of the French word mariage, and citing a similarity between mariachi (or its archaic variant, mariache) and the French word for wedding. Historical documents prove that both the word mariachi and the ensemble it designates pre-date the French occupation of Mexico, making any similarity with the French word a phonetic coincidence. URBANIZATION. While its roots are rural, the contemporary mariachi is an urban phenomenon associated with post-revolutionary Mexico City. It was in that nation's capital and principal metropolis that the urban mariachi was born and where most of its development took place. Vestiges of earlier types of mariachis may still be found in rural Mexico, but the urban mariachi has been the dominant model since the 1930s. In 1920, Cirilo Marmolejo moved his group from Tecolotlï¿½n, Jalisco to Mexico City, becoming the first mariachi to establish itself permanently in the capital.

In 1923, the cantina Salï¿½n Tenampa opened on what is now Plaza Garibaldi, where the mariachis of Concho Andrade and Cirilo Marmolejo performed. The Tenampa soon became Mexico City's center of mariachi activity and attracted other groups from rural areas to that plaza. Although mariachis had performed for official functions under Porfirio Diaz in 1905 and in 1907, it was not until after the Revolution of 1910 that the mariachi became widely adopted as a symbol of nationalism. Since Alvaro Obregï¿½n's administration (1920-1924), post-revolutionary Mexican presidents have used mariachi music for political events, with Lï¿½zaro Cï¿½rdenas being the first to officially subsidize it during his term (1934-1940). The role of the media was crucial to the popularization of the mariachi. During the 1930s, radio, cinema, and the phonograph came of age in Mexico, launching what had previously been a rural, regional music to national and international prominence.

The principal role of the mariachi in the media became that of accompanying leading vocalists of the ranchera (country) genre, Mexico's most popular nationalistic musical expression. INSTRUMENTATION. At the turn of the century, a typical mariachi consisted of four musicians. While precise instrumentation could vary with each group, regional tendencies existed. The two most prominent mariachi regions were that of central Jalisco, which preferred two violins, vihuela (a small, guitar-like instrument with a convex back and five strings), and guitarrï¿½n (a large, six-string bass version of the vihuela); and that of southern Jalisco and Michoacï¿½n, which preferred two violins, harp, and guitarra de golpe (the original mariachi guitar). After the Revolution of 1910, mariachi groups tended to grow in size. Instruments previously associated with specific regional traditions were combined, and existing instruments were doubled. Following a period of experimentation, the instrumentation of the urban mariachi became standardized.

The modern classical guitar was adopted, and the vihuela and the guitarrï¿½n were retained, while the guitarra de golpe and the harp fell into general disuse. In the early 1900s, wind instruments were frequently added to the traditionally all-string ensemble. By the 1920s, mariachis in different parts of Mexico were using the cornet. In the 1930s, however, the trumpet had replaced the cornet and had gained a permanent foothold in the mariachi; by the 1940s, the trumpet had become a mariachi institution. The two-trumpet combination popularized by Mariachi Mexico de Pepe Villa in the early 1950s is the most recent innovation to take place in the standard mariachi instrumentation. The standard contemporary instrumentation for a full mariachi is two trumpets, three or more violins, a vihuela, a guitar, and a guitarrï¿½n. An additional guitar or trumpet is sometimes added, and the basic ensemble is often reduced for economic reasons. All members may sing. MARIACHI VARGAS.

The most important group in the history of mariachi music is Mariachi Vargas de Tecalitlï¿½n, founded in 1898 by Gaspar Vargas in Tecalitlï¿½n, Jalisco. In the 1930s, its leadership was taken over by his son, Silvestre Vargas, considered the greatest mariachi organizer and visionary of all time. In 1934, the group moved permanently to Mexico City, where it played a leading role in the evolution of the mariachi. The majority of influential musicians in the genre have passed through its ranks, including arranger Rubï¿½n Fuentes and trumpet player Miguel Martinez. Since the 1940s, Mariachi Vargas has been the model ensemble for the urban mariachi tradition, in which its trajectory and influence are without parallel. MARIACHI MUSIC IN THE UNITED STATES. Mariachi music has become deeply rooted in the United States, where it has taken on unique characteristics and even influenced its Mexican counterpart.

During the late 1950s and early 1960s, a number of organized mariachi groups immigrated to Los Angeles, an urban area that has in many ways become to the United States what Mexico City is to Mexico as an urban Mecca of mariachi music. In 1961, Nati Cano organized Los Camperos, which became the best-known U.S. mariachi and the country's pioneer group in popularizing this music among non-Hispanics. In 1969, Los Camperos opened La Fonda restaurant in Los Angeles, the world's first venue designed to showcase a mariachi. Other U.S. groups followed suit, and eventually this concept was adopted in Mexico. Mariachi Uclatlï¿½n, founded in 1961 at the University of California at Los Angeles Institute of Ethnomusicology, pioneered the academic mariachi tradition, and today educational institutions throughout the Southwest offer classes in mariachi music. Mariachi Cobre, founded in Tucson, Arizona in 1971, was the first prominent Mexican-American mariachi group. In 1979, a U.S.

mariachi movement was born at the First international Mariachi Conference held in San Antonio, Texas. Since then, mariachi festivals and conferences have proliferated in the United States; Mexico celebrated its first international festival in 1994. Linda Ronstadt's 1987 album, Canciones de mi padre, heralded the creation of a new audience for mariachi music among non-Hispanics. While Ronstadt is a traditionalist, mariachis such as Sol de Mexico in Los Angeles and Campanas de America in San Antonio seek innovation, combining other musical styles with that of the mariachi. CONCLUSION. Mariachi music reached its peak in popularity during the 1950s and 1960s. Since then, it has increasingly become a nostalgia genre, marginalized by the media that initially catapulted it to fame. With the exception of isolated attempts to infuse new vitality into the tradition from outside sources, relatively little new mariachi music is composed or performed today. Nevertheless, the mariachi remains in demand for social functions in Mexican and Mexican-American communities, where it has become a cultural inheritance.

The recent revival in the United States has given new life to the mariachi, whose appeal transcends ethnic groups and national borders. -Jonathan Clark What is Mariachi Music What is a Mariachi Ensemble? Throughout the years, people have argued over the roots of the word mariachi. The explanation that had become the most common is that it comes from the French word mariage, meaning marriage or wedding. It is said that when the Frenchman Maximillian was the Emperor of Mexico, the French began to call the Mexican musicians Mariachis because the entertained at weddings. However, this theory of the origin of the word is regarded as doubtful by linguists. Currently, the scholarly opinion is that the word mariachi has native roots. One theory says that it comes from the name of the wood that was used to provide the stage for performance. There are many theories about the origin of the word but the truth is, no one can be absolutely sure. The size of a mariachi ensemble can vary quite a bit depending on the availability of musicians. The ideal instrumentation includes six violins, two trumpets, and three rhythm instruments, the guitar, the vihuela, and the guitarron. There is not a lead singer in Mariachi.

Everyone in the ensemble does some vocalization even if it is just during the chorus parts. Different members sing the lead in different songs. It is common practice to try to match the voice with the type of song that is being performed so that the emotion of the piece is conveyed in the most artistic way possible. The unamplified voices of Mariachi vocalists can have many different styles. The bolero is a romantic style with a soft touch and a suave voice, the huapango, which employs a lot of falsetto, mixing between registers, and flipping between the head and chest registers, and the son jalisiense which envolves an aggressive style of vocalization. Because Mariachis do not typically employed amplification for the vocal or instrumental music, the voices need to be powerful to be heard over the accompanament. Historically men have been the musicians in Mariachi groups. However, there is a growing acceptance and even expectation that women are members. The female voice adds to the dynamics of a group and allows for diversity and variety in the group's repetoire. Introduction to Mariachi Music - TeacherVision Introduction To Mariachi Music Use this article as a reference for introducing your students to mariachi music.

Grades: Page 1 of 2 Introduction to Mariachi Music When beginning a discussion of the mariachi, it is helpful to start with the word "mariachi" itself. Many linguists have theorized that the word comes from the French word "mariage," (meaning marriage). However, linguists now believed that the word "mariachi" may have come from one or more of the following sources: a word for a certain tree that exists in Cocula, Jalisco, Mexico; a word for a wooden dance platform made from the same tree; or a word for musical groups that the Coca Indians have always had in their language. The idea of the French origin of the word "mariachi" began during the French invasion of Mexico in the 1860s when the French observed musical groups (small string ensembles) performing at Mexican wedding ceremonies. The theory of the French origin of the word continues to be popular in many sectors, perhaps because of its romantic connotations. The history and evolution of "mariachi" is described at length in Hermes Rafael's book Origen e Historia del Mariachi (see resource list).

Mariachi Song Forms The music of the mariachi band is a mixture of different indigenous, as well as European and African, elements. From Europe, it borrowed many of the dance forms such as the waltz and the fandango. From Africa, it borrowed dance rhythms and melodic ideas. The forms found in mariachi music are, without a doubt, the most important element of the style. Mariachi song forms (such as the bolero, canción ranchera, son, huapango, joropo, and danzón) are always dictated by the rhythmic patterns that are performed by the guitar section of the group. This is one of the few musical genres in which text does not indicate form. The mariachi band is Mexico's only true surviving folkloric ensemble. The group itself has changed very little since the addition of the trumpets in the middle of the 1930s. The songs that the group performs have changed, but only to meet the demands of the listening public. A good mariachi band has a minimum repertory of at least one thousand songs. Top-flight groups have song lists that are two or three times as long.

On top of that, a strong mariachi musician must know three or four arrangements of each of these songs. Mariachi performers are expected to know the music that is on the mind of the entire Mexican population. Several Functions Mariachi music is one of the few styles of indigenous music that serves both a utilitarian and an entertainment function. The mariachi band is used for many different occasions, such as dances, weddings, and funerals. It is not unusual to find the group serenading a young woman on the occasion of her birthday, celebrating a saint's day, or singing to the mother of one of the band members on her birthday. People who enjoy mariachi music like it because it rekindles old memories, takes them to places that are far away, or brings back scenes of childhood. The mariachi tradition, as it is practiced in Mexico, is one of male dominance. In the United States, women are more openly accepted as performers of this musical genre; indeed, women are an important force in the American tradition of Mexican mariachi music. If it were not for Linda Ronstadt, the contemporary vocalist who popularized mariachi music in her recordings, the genre may have have been relegated to a bottom shelf in the musical lexicon of the world.

Instruments The following instruments can be found in a mariachi band: Violin. When used in the mariachi band, the violin is not altered in any way from its traditional use. Vihuela. The vihuela is a creation of the Coca Indians of Southwestern Jalisco in Mexico. It has five strings and a bowed back, and it is slightly larger than a ukelele. It is played with a thumb pick in the rasqueado (strummed) style and is the harmonic and rhythmic foundation of the mariachi band. Guitar. A standard guitar is used (not altered in any way) and serves to supplement the vihuela as a rhythmic element in the mariachi band. The guitar and the vihuela play the same rhythmic patterns and keep a strong foundation for the group. Typically, a guitar is used in a mariachi band about 98 percent of the time. Guitarrón. The guitarrón is the bass foundation of the group and is the single most important element in the mariachi band. It serves not only as the bass of the group, but it gives the group its characteristic sound.

A rule of thumb is that if there is no guitarrón, there should be no performance. Trumpet. A standard trumpet is used (not altered in any way). At various times, the trumpet players are asked to perform with cup mutes. Other instruments. There are occasions when instruments such as the flute, French horn, accordion, and organ are used. These instruments are used for specific arrangements. The mariachi band contains the following parts: the violins and vocals are the top voice, the rhythm section is the harmony, and the guitarrón is the bass (like the baroque "basso continue"). The traditional mariachi has six to eight violins, two to three trumpets, one vihuela, one guitar, and one guitarrón. Prev Mariachi: The Signature of Mexico - Chamizal National Memorial (U.S. National Park Service) Mariachi: The Signature of Mexico Mariachi band playing at Chamizal National Memorial NPS New Orleans is famous for jazz and Scotland for its bagpipes. Mexico is famous for mariachi.

A term which refers to the person, the group, and the music (a mariachi plays mariachi in a mariachi!), mariachi began in Jalisco, Mexico and has been thriving and surviving throughout the country for decades. Mexico’s native tongue is celebrated outside of the country as well. You won’t have a difficult time finding mariachi radio stations in the U.S. southwest. Mariachi was even played in the opening ceremonies of the 2008 Olympic Games in China! History of Mariachi Mariachi began as a rural tradition in western Mexico, probably in the 1880s. Gradually, as more people went urban, mariachi became commonplace in the city. It was in 1898 in Mexico City that Mariachi Vargas, the oldest and one of the best-known mariachi groups in the world was founded. A few decades later, in 1934, at President Lazaro Cardenas' request, mariachis played at his inauguration. In recent decades, mariachi has become rather common in the United States, especially in the borderland. Music Mariachi is played in numerous styles.

The popular Mexican song Cielito Lindo (Beautiful Heaven), with its "ay, yay, yay, yay, yay, canta y no llores," is a classic version of the country style known as the ranchera. The Son is a common folk style, combining elements of African beat, Andalusian gypsy, and indigenous Mexican. Finally, the Jarabe style consists of music that many people dance to. The jarabe was established as the national dance of Mexico in 1924. Costumes Perhaps what makes mariachi musicians most recognizable are their elaborate costumes. Musicians wear a three-piece suit, boots, and usually custom embroidered ties, belts, and buttons. No mariachi outfit is complete without the extremely wide-brimmed sombrero. The mariachi uniform evolved directly from the uniform worn by the gentleman cowboys, or charros, in the Mexican rodeo. Instruments In traditional mariachi, instruments such as the acoustic guitar; bass guitar; high-pitched five-string guitar; violin; harp; and trumpet are played. The accordion and harmonica are common in many contemporary groups. In mariachi, it's common for every band member to not only play an instrument, but also sing.

Song Topics Song topics in mariachi are diverse, ranging from love and happiness to heartbreak and anger. The ranchera genre of mariachi includes songs about lost love and longing as well as pride and joy. The jarab­e style promotes dating and courtship. Another style, known as the corrido, tells stories that can be either historical or fiction. Regional Differences Many Mexican states and regions have a popular mariachi style. In the southeastern state of Veracruz , the son jarocho is famous for its improvisations and flashy solos. In central Mexican states such as San Luis Potosi and Hidalgo , the Huapango is a popular mariachi variant. In the Huapango style, the violin represents the backbone of a complex rhythm. Modern Form Modern mariachi is performed much like traditional mariachi. However, many contemporary mariachis use nontraditional instruments such as the harmonica and accordion. Many Mexican-Americans, as well as other cultures throughout the world, view mariachi as a direct link to traditional Mexico, to a celebration, or to a cultural identity. When Can I See Mariachi at Chamizal National Memorial? Live mariachi performances are commonplace at Chamizal National Memorial.

Mariachis accompany most ballet folklórico groups onstage and it's tradition for the Music under the Stars summer concert series to have a mariachi perform at the last concert of the year in mid-August. Check the memorial's calendar of events page to see when the music of Mexico will be performed next. Viva mariachi! Text largely based on Patricia Greathouse's Mariachi, published in 2009 by Gibbs Smith Publishers. To return to the Cultural Performances home page, click here . Historia del Mariachi El mariachi empezo como una tradicion rural en el oeste de Mexico probablemente en 1880. Gradualmente como la gente se volvio mas urabana, el mariachi se hizo un lugar comun en la ciudad. Fue en 1898 en Mexico, D.F. que el Mariachi Vargas, el mas viejo y reconocido grupo de mariachi en el mundo, fue fundado. Unas pocas decadas mas tarde, en 1934, a peticion de el Presidente Lazaro cardenas, el mariachi toco en su inauracion.

En recientes decadas el mariachi se ha tornado preferentemente comun en los Estado Unidos especialmente en la zona fronteriza. Musica El mariachi toca en numerosos estilos. La cancion Mexicana Cielito Lindo con su "ay, yay, yay, yay, canto y no llores" es la clasica version de un estilo campesino como rancheras. El son es un estilo folklorico comun combinando los elementos de el compas Africano, gitano de Andalucia, y indigenas Mexicanos. Finalmente el jarabe consiste de musica que mucha gente baila. El jarabe fue establecido como baile nacional de Mexico en 1924. Vestuarios Quiza lo que hace a los musicos de el mariachi mas reconocibles son sus detallados vestuarios. Los musicos traen puesto un traje de tres piezas botas y por lo general con corbatas, cinturones, y botones hechos a la medida. No traje de mariachi esta completo sin la extremada al ancha de el sombrero.

El uniforme de el mariachi envuelve directamente el uniforme usado por los caballeros vaqueros ó charros en el rodeo Mexicano. Instrumentos En el tradicional mariachi, los instrumentos tales como la guitarra acustica, la guitarra bajo de cinco cuerdas con tono alto, el violin, el harpa, y la trompeta son tocados. La acordion y la harmonica son comunes en muchos grupos contemporaneos. De mariachi, es comun que en todas las bandas que los miembros no solo toquen un instrumento pero que tambien canten. Temas de Canciones Los temas de las conciones de el mariachi son distintas, van desde amor y felicidad hasta angustia y dolor y enojo. El estilo ranchero de el mariachi incluye canciones sobre amores perdidos y añoranzas como tambien de orgullo y felicidad. El estilo jarabe estimula las citas de amor y enamoramiento. Otro estilo conocido como el corrido, habla de historias que pueden ser historicas ó ficcion.

Diferencias Regionales En muchos estados Mexicanos y regiones tienen un estilo de marichi popular. En el suroeste de Veracruz , el son jarocho es famoso por sus improvisaciones y sus recampageantes solos. En los estados de el centro tales como San Luis Potosi y Hidalgo , el huapango es una variante popular ed el mariachi. En el estilo huapango, el violin representa la columna-vertebral de un ritmo multiple. Forma Moderna El mariachi moderno actua mucho como el mariachi tradicional. Sin embargo muchos mariachis contemporaneos usan instrumentos no tradicionales como la harmonica y el acordeon.Muchos Mexico-Americanos, tambien como otras culturas por todo el mundo, miran a el mariachi como una conexcion directa de el Mexico tradicional, como a la celebracion ó identidad cultural. Cuando Puedo Ver Mariachi en el Chamizal National Memorial? Las actuaciones de el mariachi en vivo es un lugar comun en el Chamizal National Memorial.

Los mariachis acompañan a la mayoria de grupos folkloricos en el excenario y es una tradicion para la serie de conciertos de Music Under the Stars de tener la actuacion de el mariachi en el ultimo concierto de el año amediados de agosto. Revisa la pagina de el Calendario de Eventos de el Chamizal. Viva mariachi! Mariachi - DesertUSA Mariachi Music From the Heart of Mexico by Jay W. Sharp My wife, Martha, and I discovered the music of the mariachi in a small café just off the central plaza in Monterrey, Nuevo Leon, Mexico, one rainy evening in February of 1959. We had both grown up in rural Texas, playing dinner-plate-size records that yielded scratchy renditions of the swing music of Tommy Dorsey, Harry James, Benny Goodman and Artie Shaw and the ballads of Ella Fitzgerald, Duke Ellington, Frank Sinatra, Nat “King” Cole, the Andrews Sisters and Peggy Lee. We knew the melodies and lyrics by heart.

Although we had heard that a fellow named Elvis Presley had recently attracted some attention singing about some blue suede shoes and a hound dog, our world of music at that time had been defined largely by the big bands and the balladeers of the late 1940’s and the 1950’s. In that small café that rainy evening in Monterrey, we heard in the mariachi a genre of music totally new to us. The group, instruments in hand, had walked in off the street during a lull in the rain. Each musician wore tightly cut pants and a short-waisted jacket. As I recall, two of the four played violins, one played a small guitar with a strange convex back, and one played a large guitar with a convex back. One of the violinists sang lead, the others accompanied him. They took their music, sometimes on beat, sometimes syncopated, from table to table, playing for tips.

They sang about machismo, new love, beautiful eyes, lost love, death, witches, drowning mules, cockroaches, abandonment, impoverishment, cock fights, good whiskey, old San Juan, gringos, Guadalajara, puro Mexicanos and “Viva Mexico.” Their music evoked passion, joy, anguish, humor and a patriotic swell. We did not understand it then, but as we would learn later, we were looking through the prism of the mariachi into the heart of Mexico. Finally, the mariachis came to our table, seeing in us two young gringos, hands touching. As their fingers flew over strings, they seemed to be releasing the music, rather than coaxing it, from their instruments: Sólamente una vez amé en la vida Sólamente una vez y nada más. Una vez nada más en mi huerto brilló la esperanza, La esperanza que alumbra el camino de mi soledad. Only once will I love in this life, Only once and never more. Only once and never more in my lovely garden of hope, The hope that illuminates the road of my loneliness. I handed the lead singer 20 pesos.

He took his mariachis out the door and into the wet night, leaving the melody lingering in our hearts and minds. We would not soon forget Solamente Una Vez. You see, we were on our honeymoon. The Mariachi Story Mariachi  a term of uncertain origin that applies generally to the ensembles, the individual musicians, the music and the style  budded from the orchestral groups of theater productions during Spanish colonial times in Mexico. It took root in the western part of the country, possibly first in an agricultural village by the name of Cocula, in the state of Jalisco. It blossomed among the peónes  the people of the soil  as a form of folk music, producing the interwoven rhythms and harmonies of Spain, the Native Americans and black Africa. In the early years, mariachi groups traveled by foot, mule, horse or train across Mexico like wandering minstrels. With no formal education in music and with no understanding of written notes, the musicians blended, by ear, the lyricism of the harp, the sweetness of the violin, and the earthiness of the guitar into a range of melodies, some of them with labyrinthine complexity.

They played for tips in the central plazas and cafés of towns and villages, performing songs by request. They played for hire at the haciendas of wealthy rancheros, or ranchers. They played for fees at holiday festivals, village fiestas, patriotic celebrations, house parties, baptisms, weddings, funerals and graveside services (often performing the deceased’s favorite mariachi songs). They played for performances by Mexico’s regional dance troupes. They played for fandangosa dance celebration with roots in the ancient history of Andalucia, in southern Spain. They serenaded beautiful young women on the behalf of lovesick suitors. In the early days, the mariachis co-opted the instruments of the Church, sometimes using them to play songs that poked fun at the priests, much to the exasperation of the good fathers. Later, mariachis won the favor of the Church. Sanctioned by the priests, they played at folk masses and church festivals, including even the Feast of the Virgin of Guadalupe.

Following the 1910/1920 revolt against the dictatorship of Porfirio Díaz  it is called THE Revolution in Mexico  mariachi music became an expression of Mexican pride and patriotism, a memorial to national heroes and to the peónes’ struggles. Mariachis followed a broad migration from villages and haciendas into the cities, particularly Mexico City. Promoted by Lázaro Cárdenas, populist president elected in 1934, mariachis found favor among Mexican elites. Led by Rubén Fuentes and other legends, mariachis began learning to read music. They became popular figures in Mexican films and on radio shows. Mariachi issued from the soul of Mexico like jazz emerged from the spirit of the U. S. The mariachi phenomenon rode the wave of immigration from Mexico into the desert Southwest during the 20th century, appearing early in Los Angeles, Tucson, San Antonio and other cities with large Hispanic populations. By mid-century, mariachis played at plazas and cafes. They appeared at festivals with Hispanic roots and parties in Hispanic homes. They played for performances of ballet folklorico groups, who perform the regional folk dances of Mexico.

They serenaded beautiful young women. Some mariachi groups graduated from programs at middle school, high school and university levels as well-trained musicians who often played in performances with symphony orchestras. To the chagrin of some traditionalists, they enlisted women in the ensembles. Mariachi enthusiasts now hold international conferences, festivals and workshops in communities like Tucson, San Antonio and Las Cruces. Mariachi music reached a pinnacle in 1988, when the well-known performer Linda Ronstadt, called on her Hispanic roots to produce the album Canciones de Mi Padre (Songs of My Father). Mariachi is now a part of America’s musical heritage. Dress At the beginning, mariachis usually wore the traditional clothes of a Mexican laborer. They could afford no more. If they came from Jalisco, for instance, they likely wore white cotton shirts and pants, wide-brimmed straw hats, and sandals or possibly boots. They felt little concern about whether their clothes matched within an ensemble. In the wake of the rising patriotism of the nation after The Revolution, mariachis began to think of their clothes as emblematic of national pride. They began dressing in uniform costumes, modest at first.

As they prospered, they turned to finely tailored, matching snug-fitting pants and short jackets ornamented with conchos (half-dollar-size silver disks), embroidered belts, large bow ties (monos), well-made ankle boots (botines) and sombrerosthe style of dress of the wealthy ranchero or charro (a Mexican horseman), the man whose fields they had tilled and whose livestock they had herded. The dress became a declaration of liberation and democracy. Mariachi Instruments and Voices In the earliest mariachi groups  typically an ensemble of four  two musicians played violins; one played a small harpthe arpa mariachera, or the mariachi harp; the fourth played a small convex-backed, five-string guitar, the vihuela. They likely learned to play those instruments in their local churches. Sometimes, in impoverished villages that had few musical instruments, a mariachi had to play, perhaps, a flute, maybe even a clarinet, whatever was available to him. Over time, mariachis changed and modified their instruments.

They incorporated the guitarra del golpe, an guitar-like instrument about three-quarters the size of a standard guitar; the guitarrón, an instrument that resembles an oversized vihuela and that largely replaced the cumbersome harp; and the guitarra cesta, an instrument similar to, but slightly larger than, the classic Spanish guitar. Soon after The Revolution, mariachi groups adopted the coronet, which they soon exchanged for the trumpet, signifying the newfound assertiveness of the peónes. Today, in a standard full mariachi ensemble, three or more musicians play violins; one plays the vihuela; one, the guitar, one, a guitarrón, and two, or sometimes three, play trumpets. In top mariachi ensembles such as the famed Mariachi del Cobre, the singers, often with classical training, perform with vocal power, clarity, lyricism and wit. They cherish the freedom for creativity and self expression. They sing “evenly and elegantly,” keeping their voices with the “chest and head tone range correctly,” according to Michelle Alma Quintero in her article “The Mariachi Voice,” which appeared in the International Folk Culture Center web site in 1996.

With their traditions, dress, instruments and voices, mariachis have created an unmistakable musical panache. The Music Over the centuries, mariachis have cast their musical skein over perhaps two dozen distinctive styles of songs, including those from different regions within Mexico. They play, for instance, boleros, a style that includes Solamente Una Vez. They play pasodobles (the two step), with songs like España Cani taken from the dance music of the gitanos, or gypsies, of Spain. This style often recalls the pageantry of the bullfight. They play ranchera lento, a style performed with slow meter and powerful emotion: “volver, volver, volver a tus brazos otra vez” “to return, to return, to return to your arms once again” They tell stories in their songs, in the style called corrido, for instance: “ [Juan Charrasqueado] era valiente y arriesgado en el amor a last mujeres mas bonitas” “he was courageous and dashing in making love to the most beautiful women” You can, of course, guess what happened to Juan Charrasqueado. A jealous husband shot him.

The mariachis perform the sones, or songs, of various regions across Mexico; the ballet folklorico music of various regions; and dance melodies called jarabe, huapango, danzon and cumbia. They play waltzes, polkas and even the schottische, which is derived from an old Scottish dance form. Inevitably, they play that perhaps most famous of all mariachi tunes, La Bamba, a festive stew of Spanish, African and indigenous rhythms born in Vera Cruz. Mariachi in the Desert Southwest You will hear the music  the signature of Mexico  at almost any special gathering of Hispanic people across the desert Southwest, where the mariachis give melodic life to fiestas, holidays and life’s passages. You will find it in community plazas and cafés, where mariachis, following tradition, will play your requests in return for tips. You will find it in concert halls and conferences, where the mariachis draw large and enthusiastic crowds.

In particular, you will find the mariachis contributing to the celebrations of Cinco de Mayo (the 5th of May, the day in 1862 when an outmanned and outgunned Mexican force defeated a French invasion force at Puebla, 60 miles east of Mexico City); Diez y Seiz de Septiembre (the 16th of September, the day in 1811 when Father Miguel Hidalgo y Costilla issued his call for Mexican independence -- El Grito de Dolores  from the steps of his church in the city of Dolores Hidalgo, 160 miles northwest of Mexico City); and Dias de los Muertos (Days of the Dead, November 1 and 2, when Hispanic peoples of the Southwest join Mexico in a festive celebration of life and remembrance of the dead). Not long ago, my wife, Martha, and I went to an Hispanic festival in southern New Mexico. I asked a small mariachi group to play our old favorite, Solamente Una Vez. The musicians saw us, I’m sure, as two aging gringos, hands touching.

Their fingers flew over strings, seeming to release the music, rather than coaxing it, from their instruments. They sang the old bolero for Martha. Sólamente una vez amé en la vida Sólamente una vez y nada más I gave the lead singer five dollars. He took his mariachis to the next request, leaving our melody lingering in our hearts and minds. We would not soon forget that performance of Solamente Una Vez. You see, we were celebrating our 45th wedding anniversary. Share this page on Facebook: DesertUSA Newsletter -- We send articles on hiking, camping and places to explore, as well as animals, wildflower reports, plant information and much more. Sign up below or read more about the DesertUSA newsletter here . (It's Free.) FREE DESERTUSA

Question: Mariachi is a style of Mexican 'street (what?)'?
Answer: Music