Mariachi is a type of traditional Mexican music that has been around since at least the 18th century. It developed over time in rural areas of western Mexico. A typical mariachi group today includes up to eight violins, two trumpets, and at least one guitar. The group also uses a high-pitched Mexican instrument called a vihuela and a large acoustic bass guitar known as a guitarrón. Each musician in the group takes turns singing the main part of the song and providing background vocals.

During the 19th and 20th centuries, many people moved from rural areas to Guadalajara. At the same time, the Mexican government promoted national culture, which helped mariachi become recognized as a unique Mexican musical style. Changes to the music included influences from other styles, such as polkas and waltzes, the addition of trumpets, and the use of traditional charro clothing by mariachi musicians. By the first half of the 20th century, mariachi music gained national popularity. It was played at presidential events and on the radio in the 1920s. In 2011, UNESCO recognized mariachi as an Intangible Cultural Heritage, joining six other Mexican traditions on the same list.

Mariachi ensembles perform many types of songs, including rancheras, corridos, cumbias, boleros, ballads, sones, huapangos, jarabes, danzones, joropos, pasodobles, marches, polkas, waltzes, and chotís. The lyrics of these songs often describe themes such as machismo, love, betrayal, death, politics, revolutionary heroes, and life in the countryside.

Name

The origin of the word "mariachi" is not agreed upon, but several important theories exist. One theory suggests it comes from the name of the wood used to build the dance platform. Another theory says it comes from the indigenous name of a tree called "pilla" or "cirimo." A third theory claims it comes from an image known locally as "María H" (pronounced "Mari-Ache").

The terms "mariachi" and "ranchera" can sometimes be used together, even though they have different meanings. Mariachi music is a type of Mexican folk music that is part of a larger music style called ranchera music (music from the countryside). The word "mariachi" can describe many things: a collection of songs, a musical style, a strong singing style, a solo singer or performer wearing a charro suit, or a group of musicians.

The oldest written records about "mariachi" include more than 100 documents from 1832 to 1850, such as baptism, burial, and marriage certificates. These documents mention a place called "Mariachi ranch," which was near the Santiago River in Nayarit, Mexico.

At one time, people believed the word "mariachi" came from the French word "mariage" (meaning "marriage"), because the music was often played at weddings during the French occupation of Mexico in the 1860s. This idea was common on music covers and travel guides, but it was later proven wrong. In 1981, a letter from a Catholic priest named Cosme Santa Ana, written in 1852, was found in church archives. In the letter, he complained about the noise and other activities of "mariachis," showing the word was already in use before the French arrived. Some Cora Indians, who may have come from Jalisco, Mexico, used a similar word to describe a type of wood used to make mariachi instruments.

Origins

Before the Spanish arrived in Mexico, indigenous people used rattles, drums, flutes, and conch-shell horns to play music during religious celebrations. The Spanish brought new instruments such as violins, guitars, harps, brass instruments, and woodwinds. These European instruments often replaced native ones. Europeans used their instruments during religious services, but over time, they were also used for secular events. Indigenous and mestizo people learned to play and make these instruments, sometimes changing their shapes and tunings.

The Spanish also introduced the idea of musical ensembles. During the colonial period, these groups usually included two violins, a harp, and various guitars. These ensembles reflected mestizaje culture and led to the development of many folk music styles in Mexico.

One of these styles was the son, a type of music that used string instruments. The son had different regional versions, with the one from Jalisco called son jalisciense. A famous song from this style, known as "the mariachi national anthem," is "La Negra." Modern mariachi music evolved from this style. Early mariachi musicians played only string instruments like guitars and harps and wore simple peasant clothing, such as white pants, shirts, and huarache sandals. People who could play son jalisciense/mariachi music often found work at haciendas more easily than those who could not.

The difference between mariachi and the older son jalisciense developed slowly during the 19th century. Mariachi music originated in the center-west of Mexico, with most claims pointing to Jalisco. Nearby states like Colima, Nayarit, and Michoacán also claim connections to its origins.

Most sources say that modern mariachi began in Cocula, Jalisco, during the 19th century. There, the genre evolved from son jalisciense and became centered in Jalisco by the late 1800s. Cocula, known as the "World Cradle of Mariachi," has a plaza arch that honors its heritage. The song "De Cocula es el Mariachi," written by Manuel Esperón and Ernesto Cortázar, and popularized by Jorge Negrete, strengthened Cocula's link to mariachi. The Museo de Cocula es el Mariachi, opened in 2000, displays instruments, costumes, and photos showing how mariachi became a symbol of Mexican identity.

Mariachi music was not always connected to the church. In 1848, Bishop Cosme wrote to Spain, complaining about mariachis making noise near his church and noting that mariachi did not originate there. Today, however, mariachi music is part of Catholic services for events like weddings, funerals, and celebrations of the Virgin of Guadalupe on December 12.

The difference between son and modern mariachi comes from changes in the music. By the late 19th century, European musical traditions, such as opera and waltzes, were introduced to Mexico. These were performed by both Europeans and Mexicans, including in rural areas by groups called orquestas típicas, who often wore traje de charro outfits. This style of clothing later became common for urban mariachi musicians in the 1920s.

The traje de charro outfit is one of the major changes of the Golden Age of mariachi, along with the addition of trumpets. This outfit, inspired by cowboy clothing, includes symbolic sombreros, tight pants, ruffled shirts, and jackets with heavy embroidery. The traje de charro was also worn by the Orquestra Típica Mexicana, founded in 1884 by Carlo Curti. This group toured Mexico and the United States, promoting Mexican nationalism under President Porfirio Díaz. Curti’s orchestra is considered a predecessor to modern mariachi bands.

After the Mexican Revolution, many haciendas lost workers, including mariachis. These groups began traveling and playing for fees, which led them to include new music like waltzes and polkas in their performances. They also played in public venues. From the late 19th century to the 1930s, mariachi groups were semi-professional.

In the early 20th century, record companies in the United States began recording rural music worldwide. One example was a recording called Cuarteto Coculense by Columbia, Edison, and Victor in 1908 and 1909, considered one of the first mariachi recordings. Mariachi music also gained attention in Mexico City when a wealthy family brought a mariachi from Cocula to perform for President Porfirio Díaz in 1905.

Modern development

The common belief about the music and style of mariachi developed in the 20th century. During this time, the music changed from a type of rural folk music to a popular urban style that became a symbol of Mexico.

Mariachi music was first brought to Mexico City in 1905. At this time, many farm workers moved to the city, including people from Jalisco, who settled near Plaza Garibaldi. These musicians began performing in public places like plazas and restaurants. However, they also continued playing at traditional events, such as romantic songs and family celebrations.

During this period, the Mexican government worked to promote culture to help create a unified Mexican identity after the Mexican Revolution. One way they did this was by encouraging mariachi music as a symbol of Mexican culture. They used radio, recordings, and later films to spread the music internationally.

In the 1920s, Mexico built a nationwide radio network, including stations like XEB and XEW. These stations started broadcasting mariachi music as a media production, not just for social events. The music had already changed because of sound recordings. For example, many traditional Jalisco songs were longer than the standard three-and-a-half minutes of 78 rpm records, so musicians shortened their songs. Around the same time, the popularity of jazz and Cuban music led to the addition of trumpets in mariachi groups, which made violins less important and sometimes replaced the harp.

Trumpets became more common in the 1930s when mariachi music was played for wealthy people. These people could afford to record music, hire top musicians, and buy high-quality instruments, which helped the music evolve and gain worldwide attention.

The most respected mariachi musicians came from Jalisco, especially from Cocula and Tecalitlán. These musicians performed at important events, such as Mexico City’s Independence Day celebrations in 1933 and Lázaro Cárdenas’ election campaign in 1936.

The charro tradition was strong in Jalisco, particularly in Los Altos. After the Mexican Revolution, charreada (a type of rodeo) became a national sport, and special arenas were built for it. Professional charro groups formed, but after large farms were broken up, charros were no longer needed for work. Instead, they became a cultural symbol, especially in films. The first charro movies appeared in the 1920s, and the first film with a mariachi singer was Allá en el Rancho Grande in 1936, starring Tito Guízar. Later, Jorge Negrete played characters who sang mariachi songs in films like ¡Ay, Jalisco… no te rajes! and ¡Así se quiere en Jalisco!. These characters used mariachi music to show strength, masculinity, and beauty. The use of mariachi in films also made the music popular among Mexican Americans in the United States.

However, some films gave mariachi music a negative image. In the early 20th century, mariachi was often seen as music for lower-class people and associated with bars. These films linked mariachi music with machismo, drinking, and romantic behavior, especially with tequila. This view changed later in the century, but mariachi music is still closely tied to tequila.

Mariachi music and musicians became more professional in the late 1940s and 1950s, especially after the success of Mariachi Vargas. This group performed in many films, supported famous singers, and hired highly trained musicians. Their work inspired other mariachi groups to follow suit. Mariachi Vargas expanded their music by adding trumpets, violins, and classical guitars, creating a type of orchestra. They kept traditional mariachi sounds while blending new styles. Arrangers like Rubén Fuentes added classical influences. Another change was the rise of female mariachi performers, such as Lola Beltrán and Lucha Villa. Mariachi Vargas gave Beltrán her first stage performance as a teenager. Her songs, like Cucurrucucu Paloma and Tres Dias, are now considered classics.

As mariachi groups adopted new musical styles from the radio and the Mexican American community in the United States, some traditional sounds from Cocula were lost. However, learning traditional pieces and songs is still important in both countries to preserve the music’s roots.

The International Mariachi Festival in Guadalajara is a yearly ten-day event that brings more than 500 mariachi musicians together. They perform in concert halls and on city streets. Past performers include Mariachi Vargas de Tecalitlán, Mariachi los Camperos (led by Nati Cano), and Mariachi América de Jesús Rodríguez de Hijar.

In Mexico City, Garibaldi Plaza remains the center of mariachi music. Musicians gather there to find work, offering individual songs to passersby or being hired for events like weddings and baptisms. Some even stand on Eje Central near the plaza to attract attention from drivers. In 2010, the government improved the plaza to make it more tourist-friendly, adding new paving, gardens, security cameras, painted buildings, and a museum about mariachi and tequila. Although people can hire mariachis by phone or online, many still prefer visiting the plaza to listen, compare prices, and choose musicians in person. About 2,500 mariachis have union cards to work there, and up to 4,000 may be present on busy weekends.

Groups

The size of a mariachi group depends on how many musicians are available. A typical mariachi group today includes up to eight violins, two trumpets, and at least one guitar. Traditional mariachi guitars are the vihuela, a small, round-backed instrument that creates rhythm, and the guitarrón, a larger bass guitar that also adds rhythm. Sometimes, a Mexican folk harp is used to provide bass and add melody. All these instruments are variations of European instruments. Unlike other musical groups, mariachi groups usually do not have a single lead singer. Instead, all musicians sing together in choruses and take turns singing the main parts. The lead singer for a song is often chosen based on their voice. Mariachi singing includes influences from styles like bolero (a romantic style), huapango (which uses a high voice), and son jalisciense (a strong, energetic style). Singers must have strong voices to be heard over loud instruments. The singing style has an operatic sound, and the musicians show a high level of skill that shows advanced training. Historically, mariachi groups were made up of men, but more women are now joining mariachi groups.

Mariachi groups often play many songs because they are asked to perform different music. Most songs are about themes like machismo, love, betrayal, death, politics, heroes, and everyday life from the music’s roots in rural songs. One well-known song is "La Cucaracha" ("The Cockroach").

Mariachi music is often played at family events, religious celebrations, and serenades. In Mexican culture, a serenade is a way to express love or admiration for someone. Mariachis are commonly hired for birthdays and celebrations of patron saints. A popular song played at these events is "Las Mañanitas."

In Mexico, mariachi music is also part of Catholic Mass. The Misa panamericana is a mariachi version of a religious service sung in Spanish, with new arrangements of traditional hymns like "Kyrie Eleison." This idea began in 1966 by a Canadian priest named Jean Marc Leclerc. It started in a small church in Cuernavaca in the 1960s and later moved to the Cuernavaca Cathedral. The mariachi mass grew because it was important to the community and was supported by the Chicano movement. It spread from Mexico to the United States and continued to grow.

Mariachi Vargas

Mariachi Vargas de Tecalitlán is known as the oldest mariachi group, founded by Gaspar Vargas in the late 1890s. The group moved from Jalisco to Mexico City and performed during the start of President Lázaro Cárdenas’s presidency. Mariachi Vargas became well-known for helping singers such as Luis Miguel, Lola Beltrán, and Pedro Infante. Their first recording was made in 1937, the same year they appeared in the film Asi es mi Tierra. The group appeared in more than 200 films during the 20th century. In 1958, Silvestre Vargas took leadership of Mariachi Vargas de Tecalitlán from his father and soon hired Ruben Fuentes, a trained musician, as musical director. Fuentes and Vargas played a key role in making mariachi music more consistent, by arranging traditional songs and creating new ones that were performed by famous musicians of the mid-20th century, such as Pedro Infante, Miguel Aceves Mejía, Lola Beltrán, and José Alfredo Jiménez. Mariachi Vargas continues to exist, with its history traced through generations of musicians who began in the 1890s. These generations have kept the group’s traditional mariachi identity while the music has changed over time. The last member of the Vargas family associated with the group died in 1985. The group still considers itself the original mariachi group because it has passed down its music through generations of musicians, just as the original style of music from Jalisco was learned.

United States and further afield

Regional Mexican radio stations in the United States include mariachi music in their programming. Mariachi is the most popular Latin music format in the U.S. and is widely known throughout the country. The U.S. military has an official mariachi band in the New Mexico National Guard called Mariachi Nuevo México. This band honors the state of New Mexico’s Hispano and Mexican-American heritage.

Mariachi music is often seen as a symbol of Mexico. This has led to the creation of mariachi groups in many countries, including Argentina, Aruba, Egypt, Chile, Cuba, Spain, Guatemala, Uruguay, Peru, Brazil, Colombia, Ecuador, and Venezuela. Groups from these and other countries participate in Guadalajara’s International Mariachi and Charreria Conference.

Mariachi music has many fans in the U.S., and top groups often tour extensively. Mariachi Los Camperos received a Grammy nomination for best Mexican-American album. Some schools and universities offer classes where students can learn from famous mariachi groups and compete for awards.

The first mariachi groups in the U.S. were from California. Nati Cano was born in Jalisco, Mexico, in 1939 and moved to Los Angeles in 1959. He played in many mariachi groups that supported singers but believed mariachi music could stand on its own. In 1969, he opened a restaurant called La Fonda in Los Angeles, which featured his group, Los Camperos, in a dinner show. The success of this restaurant and Los Camperos inspired many other mariachi groups in the U.S. In the late 1980s, pop star Linda Ronstadt recorded albums with Mariachi Vargas de Tecalitlán and others, which helped increase the music’s popularity among Mexican Americans and others.

Some U.S. public schools teach mariachi music as part of their classes. The first student mariachi group was started in 1961 at the University of California, Los Angeles. This led to the creation of other student groups in California and later in Texas, where the first mariachi festival was held in 1979. Since then, schools and festivals have worked together to teach and celebrate mariachi music. This collaboration inspired the Texas board of education to hire Zeke Castro, a highly awarded teacher, to teach mariachi.

At first, school programs were limited to areas near the U.S.-Mexico border, such as San Antonio and Tucson. Over time, these programs spread across the southwestern U.S. and into other parts of the country, especially after the 1990s. At least 500 schools now offer mariachi classes, and many have local and state competitions. In some schools, mariachi ensembles have replaced traditional school bands. Professional groups, such as Mariachi Cobre, which performs at Disney World, also teach in public schools.

In areas with large Mexican-American communities, mariachi musicians are often hired for events attended by people outside this group. Outside of schools, the most important places for mariachi music in the U.S. are festivals. The longest-running festivals are in Tucson and Fresno. The Tucson International Mariachi Conference began in 1982 and includes over 500 elementary, middle, and high school and college mariachi players. The Las Vegas International Mariachi Festival, started in 1991, is televised on Telemundo and PBS and has featured artists such as Pedro Fernández, Ana Gabriel, and Pepe Aguilar.

The growth of mariachi education has caused some debate. Some traditional musicians are concerned that these programs may change the music’s original style. Standardizing published mariachi music has also affected how the music is taught in Mexico. One challenge is that the son jaliscense, the traditional rhythm of mariachi music, alternates between 4 and 8 beats. Most published mariachi music is meant for people who already know the music, not for beginners. Schools often hire teachers who are not trained in mariachi but have teaching qualifications, which some traditional musicians worry may reduce the music’s creativity.

In the U.S., mariachi music has also included styles from other artists, such as Elvis Presley, Freddy Fender, Glenn Miller, Marty Robbins, and Johnny Cash. Some groups, like the heavy-metal mariachi band Metalachi, blend mariachi with rock music. Many schools and organizations support female mariachi musicians, including all-female groups such as Mariachi Mujer 2000, Mariachi Reyna de Los Angeles, and Mariachi Divas de Cindy Shea. Mariachi Divas have won two Grammy Awards, toured widely, and are the official mariachi group of Disneyland Resort in Anaheim. In 2015, Mariachi Flor de Toloache, New York’s first all-female mariachi group, was nominated for a Latin Grammy and performed with the band The Arcs. In London, UK, Mariachi Las Adelitas UK plays traditional Mexican mariachi music and some songs in English.

In 2016, English singer Sophie Ellis-Bextor released an album called Familia, inspired by a visit to Mexico. She shared a video of herself singing one of the album’s songs, “Death of Love,” with a group of mariachis in Puerto Vallarta, Jalisco.

Aesthetics

Charro is the clothing worn by ranchers and became part of mariachi performances when mariachis began showing their music nationally. It is designed to represent both the sounds and appearance of Mexico, symbolizing the country. Bands may wear similar-looking charros, but each band or musician often has their own unique version.

Mariachi music can be performed on various types of stages, including large, detailed stages with platform-like steps that raise the performers and musicians. The singer is usually positioned in the center. However, mariachi music can also be played in many places because most instruments are portable and easy to carry.

Styles of mariachi

Son Jarocho is a type of music known as "sones." There are many styles of these sones, which together are called "sonecitos del pais," meaning "little songs from the countryside." Each style comes from a different region and began in the 1800s. These styles mix Mexican music with other regional or outside music influences, creating a welcoming type of music and dance.

Bolero is a style of mariachi music that highlights the singer, who often sings in a dramatic, operatic way. The lyrics usually focus on romantic themes. This type of mariachi music is slower, more personal, and softer in sound. However, it still has a grand and impressive sound. It is often played by smaller mariachi bands for private events, such as serenades, or by larger bands to share its beauty with listeners.

Ranchera is a style of music typically played by a mariachi band. Compared to other styles, ranchera is slower and more emotional. It is the most commonly heard style, aside from traditional mariachi music. This style emphasizes singing and tells stories about life on ranches and similar places. Its sound is unique and can be imagined as a song sung on a ranch, expressing feelings for a loved one or sharing personal emotions.

Corridos are another type of ballad. Ballads are known for being emotional and often discuss serious topics, such as loss, poverty, or relationship challenges. Corridos have a slower pace and a less happy sound. However, they still feature beautiful singing and musical performances.

Banda music is similar to mariachi music but focuses more on wind and brass instruments rather than string instruments. Vocals are also an important part of banda music. This style developed after people heard military bands play, and it took inspiration from the sound of brass instruments and the rhythm of marching. This combination of brass instruments and a marching beat makes banda music unique compared to other types of music.

Women in mariachi

In the 1940s, the first all-female mariachi band was formed. This group was led by Carlota Noriega, and more such bands followed, especially in the United States. These women faced discrimination because mariachi music was often seen as a male-dominated tradition influenced by the belief that men should be strong and dominant. To succeed, these female musicians used their appearance and focused on themes like independence, life, and the movement for women's right to vote. They wore the same traditional clothing as men, called traje de charro, but added long skirts and did not wear sombreros.

At first, women in mariachi music were not widely accepted. They were often not allowed to perform in places like taverns. However, as mariachi musicians moved to cities, women became more accepted. Schools and teaching programs helped increase the popularity and inclusivity of mariachi music, allowing many women, both Hispanic and non-Hispanic, to pursue careers in music.

In 1976, the first all-women mariachi group in the United States was formed. They were called Las Generalas. To gain respect from the American public, they avoided drinking alcohol and performing late at night.

Dance

The most common dance technique in mariachi is called zapateado, which means "tap dance." This style of footwork was inspired by Spanish Flamenco dance. Zapateado uses rhythmic movements where one foot is planted, followed by a heel tap, then another foot is planted, repeating this pattern. This dance is performed on a wooden platform known as a Tarima.

Ballet folklórico is a dance that is not directly connected to mariachi, but the two are often performed together on stage. Both styles feature performances that are clearly different for men and women, include detailed costumes, and encourage audience involvement.

Musical forms

• Mariachi music follows a specific list of songs that the group plays.
• Nochistlán (sequential participatory music) allows the audience to join in by requesting songs or singing along during karaoke.
• Meter 4 [chun-ta]
• Meter 4 [chun-ta-ta]
• Meter 4
• Meter 8
• Meter 4 with 8
• Mixed meter:
• Jarabe – for example, "Jarabe Tapatío"
• Classical music overtures