BRABSON LIBRARY & EDUCATION FOUNDATION
Chapter 2
The Modern Mariachi Sound
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Pages 14 – 17
History of the Mariachi
1. For further information regarding the history of the mariachi, refer to the excellent list of resources in Daniel Sheehy’s Mariachi Music in America. Share any additional information you discover with other students in the class.
Source: Sheehy, Daniel. Mariachi Music in America. NY: Oxford University Press, 2006.
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CD Track 4: “Arenita de Oro.” Cuarteto Coculense. From Mexico’s Pioneer Mariachis, Vol. 4. Cuarteto Coculense: The Very First Mariachi Recordings 1908 – 1909. 1998. Arhoolie Folklyric CD 7036. 1998. Available from .
1. Play selection. Using Overhead 2.1, “Listening Guide for ‘Arenita de Oro,” follow the alternating sections of the instrumentalists and vocalists.
2. Play selection again. Focus on the repetitive melodic line. Listen again and sing along with the melodic line using the syllable “la.” After mastering the melodic line, practice singing the harmony part. Divide the class in half and sing both parts together.
3. Add chords to accompany the melody and harmony.
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CD Track 5: “El toro.” Mariachi Coculense de Cirilo Marmolejo. From Mexico’s Pioneer Mariachis, Vol.1. Mariachi Coculense “Rodrίguez” de Cirilo Marmolejo, 1926-1936. Arhoolie Folklyric CD 7011. 1993. Available from .
1. Play selection. Using Overhead 2.2, “Listening Guide for ‘El toro/The Bull,’ follow the structure of the piece.
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CD Track 6: “La negra.” Mariachi Tapatίo. From Mexico’s Pioneer Mariachis, Vol. 2. Mariachi Tapatίo de José Marmolejo. Arhoolie Folklyric CD 7012. 1994. Available from .
1. Play selection. Using Overhead 2.3, “Listening Guide for ‘La negra,” follow the outline of the music.
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Pages 22 – 27
Instruments of the Mariachi
1. After reading about the vihuela and guitarrón, make a list of the characteristics of each instrument as used in the mariachi.
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CD Tracks 7: “El son del la negra,” vihuela rhythm, excerpt. Russell Rodrίguez. 2001. Peer International Corp. (BMI) obo PHAM.
Track 8: “El son de la negra,” guitarrón rhythm, excerpt. Russell Rodrίguez. 2001. Peer International Corp. (BMI) obo PHAM.
Track 9: “El son de la negra,” vihuela and guitarrón rhythm, excerpt. Russell Rodrίguez. 2001. Peer International Corp. (BMI) obo PHAM.
1. Pat the beat with both hands as you listen to the vihuela rhythm (Track 7), guitarrón rhythm (Track 8), and vihuela and guitarrón rhythms performed together (Track 9). Pay particular attention to the timbre (tone color) of each instrument and how the rhythm patterns connect with each other.
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Page 28
Review of Music Forms Used by the Mariachi
1. Review the terms that describe the typical forms used in mariachi music: son, canción ranchera, bolero ranchero, huapango, and polca (polka.) Use Worksheet 2.1, “Review of Terms for Mariachi Musical Forms.”
2. Take the quiz, “Mariachi Musical Forms” found at the end of this chapter, “Quiz # 1.”
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CD Track 10: P.D. “El perro.” Mariachi “El Capiro de Jalisco,” courtesy of the National Council for the Traditional Arts and Francisco Castro. November, 1990.
1. Play selection. Follow the form of the music using Overhead 2.4, “Listening Guide for “El perro/The Dog.”
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CD Track 10: P.D. “El perro.” Mariachi “El Capiro de Jalisco,” courtesy of the National Council for the Traditional Arts and Francisco Castro. November, 1990.
1. Play selection. Raise your hand every time you hear the words “Ay ay ay ay.” There are two melodic lines for these lyrics. Can you identify each one? Sing along with them when you can. The musical notation for each of these patterns is found in Overhead 2.4, “Listening Guide for ‘El perro/The Dog.’”
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CD Track 11: “Cielito LIndo.” Mariachi Los Amigos. 2001.
1. Find other recordings of “Cielito Lindo.” Compare and contrast the style of each recording with the one featured on the CD that accompanies the book.
(Source for another version of “Cielito Lindo”: Ronstadt, Linda. Canciones de Mi Padre. Electra/Asylum Records 970765.)
2. Listen to the music and pat the beat in sets of threes (pat, clap, clap.) Follow the leader and change the motions to different body percussion motions that show the meter of three. (Example: stamp, clap, clap; snap, clap, clap, etc.)
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CD Track 12: Silvano R. Ramos, “Allá en el rancho grande.” Mariachi Los Amigos. 2004. Edward B. Marks Music Company (BMI).
1. Play selections. To experience the vihuela part, clap the off-beats. Or, tap one foot to the beat and clap the off-beats. Refer to Figure 2.10 a, page 33, in the text for the “Ranchera fast duple rhythm” pattern.
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CD Track 13: José Alfredo Jiménez, “Si nos dejan” excerpt demonstrating vihuela and guitarrón (armonίa) rhythm. Mariachi Los Amigos. 2003.
1. Play selection. Follow the armonίa rhythm pattern found in Figure 2.11. page 34 in the text. Divide the class into two groups.
Group 1: Play the vihuela part by alternating hands patting on laps.
Group 2: Play the guitarrón part by patting both hands on lap for beat one; for beats three and four, clap hands.
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CD Track 14: José Alfredo Jiménez, “Si nos dejan.” Mariachi Los Amigos, 2003. BMG Songs, a division of BMG Music Pub., N.A., Inc., obo BMG Music Publishing S.A. de C.V.
1. Dance to the music. Using the “ballroom dance” stance (male/female) partners, move to the pattern, “slow, (rest), quick, quick.” For those students who may prefer not to do ballroom dancing, step the pattern around the room without a partner. Male dancer leads with his left foot. Solo dancer also leads with his/her left foot.
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CD Track 15: José Alfredo Jiménez, “Serenata huasteca,” excerpt demonstrating vihuela and guitarrón (armonίa) rhythm. Mariachi Los Amigos, 2003. Peer International Corp. (BMI) obo PHAM.
1. Play selection. Pat the beat and focus on the “special rhythmic nucleus of the mariachi huapango.”
CD Track 16: José Alfredo Jiménez, “Serenata huasteca.” Mariachi Los Amigos, 2003. Peer International Corp. (BMI) obo PHAM.
1. Play selection. Focus on the “ornate violin playing.”
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CD Track 2: Quirino Mendoza y Cortes, “Jesusita en Chihuahua.” Mariachi Los Amigos. Peer International Corp. (BMI) obo PHAM.
1. Play selection. Dance the polka.
Formation: Ballroom dance stance. Male puts his right hand behind the female’s waist holding her right hand with his left hand in an upward position. Female puts her left hand on the right shoulder of the male and joins her right hand with his left.
Male leads in a fast and energetic “quick – quick” back-and-forth dance step around the dance floor.
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CD Track 17: Luis Cisneros Alveart, “Gema.” Mariachi Los Camperos de Nati Cano. From !Viva el Mariachi! Nani Cano’s Mariachi Los Camperos, Smithsonian Folkways Recordings SF 40459. Available at folkways.si.edu.
Peer International Corp. (BMI) obo PHAM.
1. Play selection. Compare and contrast this selection of modern mariachi music with what you have heard in the past. What is the same? What is different?
Overhead 2.1
Listening Guide for “Arenita de Oro / Golden Grain of Sand” (CD #4)
(See Figure 2.2 in text, page 18, for photo of the mariachi, Cuarteto Coculense)
Instrumentation: 2 violins, vihuela, and guitarrón
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00:00 – 00:16 Instruments Violin 1 plays melody, Violin 2 plays harmony (third lower)
Vihuela and guitarrón plays the armonίa – “the chordal-rhythmic framework”
00:17 – 00:32 Voices (1) Voice 1 melody, Voice 2 harmony (third lower)
Violins 1 and 2 in background with armonίa
00:33 – 00:48 Instruments
00:49 – 01:05 Voices (2)
01:06 – 01:21 Instruments
01:22 – 01:37 Voices (3)
01:38 – 01:53 Instruments
01:54 – 02:09 Voices (4)
02:10 – 02:15 Instruments
02:16 – 02:18 Ending Standard ending, “Son. Moderate-paced, free
rhythm” (See text, page 69, example e.)
Overhead 2.2
Listening Guide for “El toro.” (CD #5)
Mariachi Coculense de Cirilo Marmoleja
Instrumentation: Violins, vihuela, guitar, and guitarrón (no trumpets)
(DAN, IS THERE A GUITAR IN THIS ONE?)
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00:00 – 00:27 Instrumental introduction, violins play melody and harmony
Melody #1
00:28 – 00:45 Vocalists (harmony in thirds)
Melody #1
00:46 – 01:03 Call and response between 2 singers
Melody #2
01:04 – 01:20 Vocalists (harmony in thirds)
Melody #3
01:21 – 01:37 Vocalists; Repeat of Melody 1
01:38 – 01:55 Call and response between 2 singers
Melody #2
01:56 – 02:17 Vocalists (harmony in thirds)
Repeat of Melody #3
Prominent meter change
02:18 – 02:47 Instruments
Melody #1
02:48 – End Ending with repeated notes, then 2 final chords
Overhead 2.3
Listening Guide for “La Negra.” CD #6
Mariachi Tapatίo.
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00:00 – 00:16 Instrumental introduction; fast tempo; many repetitions of notes; triple meter (duple meter near the end)
00:17 – 00-31 Melody 1 played by trumpet and violins; triple meter
00:32 – 00:43 Melody 2 played by trumpet and violins; duple meter
00:44 – 00:57 Singers (Group 1); strings pizzicato
00:58 – 01:03 Singers (Group 2); strings pizzicato
01:04 – 01:23 Instrumental interlude; descending melodic pattern, syncopated
rhythmic pattern played by violins and trumpets
01:24 – 01:39 Singers (Group 1); strings pizzicato
01:40 – 01:46 Singers (Group 2); strings pizzicato
01:47 – 02:05 Instrumental interlude; descending melodic pattern, syncopated
rhythmic pattern played by violins and trumpets
02:06 – 02:36 Instrumental section; new material
02:37 – 02:51 Closing section
02:52 – End Repetition of notes; formulaic ending (see text, page 69, example e.)
Overhead 2.4
Listening Map for “El perro.” CD #10
Mariachi “El Capiro de Jalisco”
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00:04 – 00:20 A section; instruments only
00:21 – 00;36 A section; vocal solo
00:37 – 00:53 B section; vocal duet
00:54 – 01:09 A section; instruments; begins with one “ay ay ay ay” vocal; gritos (“yells”)
01:10 – 01:25 B section; instruments
01:26 – 01:41 A section; vocal solo
01:42 – 01:57 B section; vocal duet
01:58 – 02:14 B section; instruments; beings with one “ay ay ay ay” vocal;
gritos (“yells”)
02:15 – 02:30 B section; instruments
02:31 – 02:46 A section; vocal solo
Lyrics:
(Ay ay ay ay)
Parece que voy llegando (It seems like I am arriving)
(Ay ay ay ay)
Al barrio que yo querίa. (At the neighborhood that I wanted.)
02:47 – 03:02 B section; vocal duet
Lyrics:
A ver si me muerde el perro (Let’s see if the dog bites me)
Que me mordió el otro dίa. (The one that bit me the other day.)
03:03 – 03:18 A Section; instruments; begins with one “ay ay ay ay” vocal; gritos (“yells”)
03:19 – 03:32 B section; instruments
03:33 – End Standard ending; with the words added, “Sί, señor!”
Worksheet 2.1
Review of Terms for Mariachi Musical Forms
(Note: For more detailed definitions for each term, please refer to the glossary in Daniel Sheehy’s Mariachi Music in America.)
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Son “In Mexico, son may refer to a regional style of mestizo music or to certain melodies of Indian cultural groups. In both cases, most sones have a rhythmic drive appropriate for dancing. Regional mestizo son traditions may be distinguished by instrumentation, instrumental technique, singing style, repertoire, and other traits. . . ”
Canción ranchera “Canción “song”, followed by the adjective ranchera “country,” ‘from the ranch’, describes the Mexican song tradition that rose to international popularity along, with, but not exclusively tied to, the mariachi. . . ”
Bolero, bolero ranchero “The origins of the Mexican bolero, a slow-tempo, duple-meter category of music suitable for dancing, are thought to be in 1880s Cuba, where it first emerged. . . “
Huapango “Huapango (pronounced wah-PAHNG-oh) is thought to derive from the Nahuatl Indian phrase cuauh-panco ‘on top of the wood’, referring to a dance tradition of northeastern Mexico’s Huasteca region. . . “
Polka “The late-nineteenth-century European vogue of the polka as a preferred social dance reached Mexico, as many Mexicans still looked to Europe for their cultural models. . . “
Note: The terms and definitions for mariachi musical forms are all taken from the Glossary in the text, pages 93 – 99. Sheehy, Daniel. Mariachi Music in America. NY: Oxford University Press. 2006.
Quiz #1
“Mariachi Musical Forms”
Student Name: ________________________________________________
Instructions: Can you identify mariachi musical forms? Listen carefully as your instructor plays brief excerpts, one at a time. Identify the musical form that you hear from the following choices: son, canción ranchera, bolero ranchero, huapango, and polca (polka.)
Recording Choices on the CD:
Son CD Tracks 1,4,5, and 6
Canción ranchera CD Tracks 3 or 12
Bolero ranchero CD Track 14
Huapango CD Track 16
Polca (polka) CD Track 2
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