Mariachi (US: /ˌmɑːr i ˈɑːtʃi/, UK: /ˌmær-/, Spanish: [maˈɾiaʧi]) is a type of traditional Mexican music that began at least in 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 named a guitarrón. Each musician takes turns singing the main part of the song and providing background vocals.

During the 19th and 20th centuries, as people moved from rural areas to Guadalajara, and as the Mexican government supported national culture, mariachi became known as a unique Mexican musical style. Changes to the music included adding influences from other styles, such as polkas and waltzes, adding trumpets, and using traditional charro clothing by musicians. Mariachi music became widely recognized in the early 20th century, especially during presidential events and on the radio in the 1920s. In 2011, UNESCO declared mariachi an Intangible Cultural Heritage, joining six other Mexican traditions on the 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. Most song lyrics focus on themes like 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 theories are widely discussed. One theory suggests it comes from the name of the wood used to build the dance platform. Another theory says it comes from the native name of a tree called pilla or cirimo. A third theory claims it comes from the name of an image known locally as María H (pronounced Mari-Ache).

The terms "mariachi" and "ranchera" can be used in the same way, even though they have different meanings. Mariachi music is a type of Mexican folk music that belongs to a larger group called ranchera music, which is music from the ranches. The word "mariachi" can refer to many things: a collection of songs, a musical style, a strong singing style, a solo singer or performer wearing a traditional charro outfit, or a group of musicians playing together.

The oldest written records about mariachi are more than 100 documents showing the name "Mariachi ranch" in baptisms, burials, and marriages from 1832 to 1850. These records were found near the Santiago River in Nayarit.

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

Origins

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

The Spanish also introduced the idea of musical ensembles, which in the colonial period usually included two violins, a harp, and different types of guitars. These groups reflected a mix of indigenous and European cultures and led to the development of many traditional Mexican folk music styles.

One of these styles was the son, a type of music that used string instruments. The son had different regional versions, and the one popular in Jalisco was called son jalisciense. A well-known song from this style is "La Negra," often called "the mariachi national anthem." Modern mariachi music evolved from son jalisciense, and mariachi became another name for son jalisciense. Early mariachi musicians only used string instruments like guitars and harps and wore simple clothing, such as white pants, shirts, and huarache sandals. People who could play son jalisciense or mariachi music had better job opportunities, especially at large farms called haciendas.

The difference between mariachi and the older son jalisciense developed slowly during the 19th century. Mariachi music originated in central-western Mexico, with most claims pointing to Jalisco, though nearby states like Colima, Nayarit, and Michoacán also have connections. Most sources agree that modern mariachi music began in Cocula, Jalisco, in the 19th century. Cocula, known as the "World Cradle of Mariachi," honors this heritage with a plaza arch displaying that title.

A song called "De Cocula es el Mariachi," written by Manuel Esperón and Ernesto Cortázar and popularized by Jorge Negrete, helped strengthen Cocula's link to mariachi music. The Museo de Cocula es el Mariachi, opened in 2000, displays instruments, costumes, and photos that show how mariachi music became a symbol of Mexican identity.

Mariachi music was not always connected to religious events. In 1848, Bishop Cosme wrote to Spain complaining about loud mariachi music outside his church, proving that mariachi did not begin in religious settings. Today, however, mariachi music is an important part of Catholic ceremonies for life events and holidays, such as weddings and funerals, and celebrations of the Virgin of Guadalupe on December 12.

The difference between son and modern mariachi music came from changes in the music itself. By the late 19th century, European musical traditions, such as opera and waltzes, were widely performed in Mexico by both Europeans and Mexicans. One type of group, called orquestas típicas, played in rural areas and wore traje de charro outfits. These outfits later became associated with urban mariachi musicians in the 1920s.

The traje de charro is one of the major changes that happened during the Golden Age of mariachi music, along with the addition of trumpets. This outfit, inspired by cowboy clothing, includes symbolic wide-brimmed hats, tight pants, ruffled shirts, and jackets decorated with embroidery. The traje de charro was also worn by the Orquestra Típica Mexicana, founded in 1884 by Carlo Curti, which toured Mexico and the United States to promote Mexican culture. Curti’s orchestra is considered a predecessor to modern mariachi bands.

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

In the early 20th century, record companies in the United States started recording music from rural areas around the world. One of the first mariachi recordings was Cuarteto Coculense by Columbia, Edison, and Victor in 1908 and 1909. Mariachi music also gained attention in Mexico City when a wealthy family invited a mariachi musician from Cocula to perform for President Porfirio Díaz in 1905.

Modern development

The common view of mariachi music and its style began in the 20th century. It changed from a type of music played in rural areas to a city-based event that came to represent 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 started new traditions, such as playing in public squares and restaurants. They also kept older traditions, like performing at weddings and family events.

During this time, the Mexican government helped promote culture to create a shared Mexican identity after the Mexican Revolution. One effort was to make mariachi music a symbol of Mexican identity worldwide, using radio, recordings, and later films.

Mexico created a national radio network in the 1920s, such as XEB and XEW, which began broadcasting mariachi music as radio shows instead of for social events. This music was already changing because of sound recordings. For example, many songs from Jalisco were longer than the standard 3.5 minutes of 78 rpm records, so they were shortened. At the same time, the popularity of jazz and Cuban music added trumpets to mariachi ensembles, 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. Wealthier individuals could record music, hire top musicians, and buy better instruments, which changed the sound of mariachi and helped it spread globally.

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

The charro tradition was strong in Jalisco, especially in Los Altos. After the Mexican Revolution, charreada became a national sport, and special rings were built for competitions. Professional charro groups formed, but charros were no longer needed for work after large farms were broken up. Instead, they became a cultural symbol, especially in films. The first charro movies appeared in the 1920s, and the first film with mariachi music was Allá en el Rancho Grande in 1936. Actors like Jorge Negrete used their ability to sing mariachi to show strength and beauty. This helped make the music popular, especially for Mexican Americans in the United States.

However, these films also made people think of mariachi music as something associated with lower-class people and bars. They linked it to ideas like machismo, drinking, and womanizing, especially with tequila. This view changed later in the 20th century, but mariachi music is still often connected to tequila.

Mariachi musicians became more professional in the late 1940s and 1950s, partly because of a group called Mariachi Vargas. Their performances in films, support for singers, and hiring trained musicians encouraged others to follow. The group expanded, adding trumpets, violins, and a classical guitar to create a kind of orchestra. They kept traditional mariachi sounds while adding new styles. Arrangers like Rubén Fuentes included classical music influences. Female musicians, like Lola Beltrán and Lucha Villa, also began performing mariachi. One night, Mariachi Vargas let Beltrán perform when she was a teenager. Her songs, such as "Cucurrucucu Paloma" and "Tres Dias," are now considered classics.

Some traditional sounds from Cocula were lost as mariachi groups added new styles from the radio and influences from the Mexican American community in the United States. However, learning traditional songs and pieces is still important in both countries.

The International Mariachi Festival in Guadalajara is an annual event lasting ten days. It attracts over 500 mariachi musicians who 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, Plaza Garibaldi remains the center of mariachi music. Musicians gather there to find work, playing for passers-by or being hired for events like weddings and baptisms. Some musicians stand on Eje Central near the plaza to attract customers. In 2010, the government improved the plaza for tourists, adding new pavement, gardens, security cameras, and a museum about mariachi and tequila. While people can now hire mariachis by phone or online, many still prefer to visit the plaza, listen to musicians, and negotiate prices. About 2,500 mariachis have union cards to work there, but up to 4,000 may be present on busy weekends.

Groups

The size of a mariachi group depends on how many musicians are available. Today, a typical mariachi group includes up to eight violins, two trumpets, and at least one guitar. Traditional mariachi guitars are the vihuela, a small, round-backed instrument that plays rhythm, and the guitarrón, a large bass guitar that also provides rhythm. Sometimes, a Mexican folk harp is used to add bass and decorate the melody. These instruments are Mexican versions of European musical tools. Unlike other groups, mariachi music usually does not have a single lead singer. Instead, all musicians sing together in choruses and take turns singing the main part of a song. The person chosen to sing the lead part often depends on their voice quality. Mariachi singing shows influences from different styles, such as bolero (a romantic style), huapango (using a high-pitched voice), and son jalisciense (a bold style). Singers must have strong voices to be heard over loud instruments. Their singing style has operatic qualities, and musicians show skill that shows advanced training. Historically, mariachi groups were made up of men, but more women are now joining these groups.

Mariachi groups often play many songs to meet requests from audiences. Most songs talk about themes like machismo, love, betrayal, death, politics, heroes from revolutions, and even animals and rural life, which reflect the music's roots in rural traditions. One well-known song is "La Cucaracha" ("The Cockroach").

Mariachi music is often linked to family events, religious ceremonies, and serenades. In Mexican culture, a serenade is a way to express love or admiration for someone. Mariachis are most famous for playing during birthdays. A common song played at these events is "Las Mañanitas," which is used for birthdays and celebrations of patron saints.

In Mexico, mariachi music is also part of Catholic Mass. The Misa panamericana is a special mariachi Mass sung in Spanish, with new versions of traditional hymns like "Kyrie Eleison." This idea started in 1966 by a Canadian priest named Jean Marc Leclerc. It began in a small church in Cuernavaca and later moved to the Cuernavaca Cathedral. The mariachi Mass became popular because it connected with the community and was supported by the Chicano movement. It spread from Mexico to the United States and beyond.

Mariachi Vargas

Mariachi Vargas de Tecalitlán is known as the oldest mariachi group, started by Gaspar Vargas around 1890. The group moved from Jalisco to Mexico City and performed at the ceremony for President Lázaro Cárdenas. Mariachi Vargas became well-known for performing with singers like Luis Miguel, Lola Beltrán, and Pedro Infante. Their first recorded music was in 1937, the same year they appeared in the film Asi es mi Tierra. The group performed in more than 200 movies during the 20th century. In 1958, Silvestre Vargas took leadership of the group from his father and later hired Ruben Fuentes as the musical director. Fuentes and Vargas played an important role in shaping mariachi music, arranging traditional songs and creating new ones that were performed by famous musicians of the mid-20th century, including 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 original style while mariachi music has changed over time. The last member of the Vargas family connected to the group passed away in 1985. The group still sees itself as the original group because each generation of musicians has passed down the music, just as the traditional son jaliscense 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 US and is well known across the country. The United States 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.

The promotion of mariachi as a symbol of Mexico 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 take part in Guadalajara’s International Mariachi and Charreria Conference.

Mariachi music is widely followed in the US, with top groups touring frequently. Mariachi Los Camperos received a Grammy nomination for best Mexican-American album. Academic programs provide instruction by famous mariachi groups and opportunities to win awards.

The first mariachi groups in the United States 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 could perform on its own. In 1969, he opened a restaurant called La Fonda in Los Angeles, where his group, Los Camperos, performed as part of a dinner show. The success of this restaurant and Los Camperos inspired many mariachi groups in the US. In the late 1980s, pop star Linda Ronstadt recorded "Canciones de Mi Padre" and "Más Canciones" with Mariachi Vargas de Tecalitlán and others, helping increase the music’s popularity among Mexican Americans and others.

Some US public schools teach mariachi 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, a strong connection between academic programs and mariachi festivals has developed. These festivals include performances by students and offer mariachi classes and workshops. The success of the festival in Texas led the state’s education board to hire Zeke Castro, a highly awarded teacher, to teach mariachi.

At first, school programs were limited to border areas like San Antonio and Tucson, but they have spread across the Southwest and into other parts of the US, especially since the 1990s. At least 500 schools now offer mariachi classes along with local and state competitions. In some US schools, mariachi ensembles have replaced school bands. Professional groups like Mariachi Cobre, which performs regularly at Disney World, also teach in public schools.

In areas with large Mexican-American populations, mariachis are hired for events outside this community. Outside of schools, the most important venues for mariachi music in the US are festivals. The longest-running festivals are in Tucson and Fresno. The Tucson International Mariachi Conference began in 1982 and features 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 like Pedro Fernández, Ana Gabriel, American-born mariachi singer Pepe Aguilar, and others.

The growth of mariachi education has caused some traditional musicians to question these programs. They worry that changes, such as making music the same way for everyone, may affect the tradition. One challenge in arranging mariachi music is that the son jaliscense, the style mariachi is based on, changes between 4 and 8 beats. Most published mariachi music is meant for people already familiar with the music, not for beginners. At the same time, many schools struggle to find mariachi instructors with proper teaching qualifications. Because of this, schools often hire musicians from outside the mariachi tradition. Some traditional mariachis are concerned that standardization may make the genre too strict and reduce the freedom to improvise.

Other changes in the US include the use of styles from artists like Elvis Presley, Freddy Fender, Glenn Miller, Marty Robbins, and Johnny Cash. There is also the heavy-metal mariachi band Metalachi. Another change is the increased presence of female mariachis, including all-female groups like Mariachi Mujer 2000, Mariachi Reyna de Los Angeles, and Mariachi Divas de Cindy Shea. Mariachi Mujer has performed with Mexican artists such as Vikki Carr, Pablo Montero, Gerardito Fernandez, and Nydia Rojas. Mariachi Divas have won two Grammy Awards, toured widely in the US, and are the official mariachi group of Disneyland Resort in Anaheim. New York’s first international all-female mariachi group, Mariachi Flor de Toloache, was nominated for a Latin Grammy in 2015 and is featured in Dan Auerbach’s The Arcs. An all-female mariachi group in London, UK, called Mariachi Las Adelitas UK, plays traditional Mexican mariachi music and some English-language songs in mariachi style.

English singer Sophie Ellis-Bextor’s 2016 album Familia was inspired by a visit to Mexico. She posted a video showing her singing one of the album’s songs, "Death of Love," next to a group of mariachis in Puerto Vallarta, Jalisco.

Aesthetics

Charro is the traditional clothing worn by ranchers. It became part of mariachi performances when mariachis began performing across the country. This clothing represents the appearance and culture of Mexico. Bands may wear similar-looking charros, but each one is unique to the band or individual player.

Mariachi music can be performed on different types of stages. Some stages are large and have steps that look like stairs, with the singer standing in the center. However, mariachi music can also be played anywhere because most instruments are easy to carry and move.

Styles of mariachi

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

Bolero is a style of mariachi music that focuses on the singer. The singer usually performs in a way similar to opera, and the lyrics often talk about romantic themes. This type of mariachi is slower, more personal, and softer. However, it still has a rich and dramatic sound. It is often played by smaller mariachi bands for private events, such as serenading someone, or by larger bands to share this beautiful sound.

Ranchera is a style of music typically played by a mariachi band. It is slower and more emotional compared to other styles. Ranchera is the most commonly heard style, aside from traditional mariachi music. It has a beautiful sound that highlights the singer's voice and tells stories about life on ranches and similar places. This music is unique and can be imagined being sung on a ranch to express feelings, such as love or sadness.

Corridos are another type of ballad. Ballads are known for being emotional and often discuss serious subjects, such as loss, poverty, or relationship struggles. Corridos have a slower pace and a more somber tone. However, they still feature beautiful singing and musical performances.

Banda music is similar to mariachi music but uses more wind and brass instruments, rather than strings. Vocals are also an important part of banda music. Banda music developed after people heard military bands play. The use of brass instruments and a sound similar to marching bands makes this music unique compared to other styles.

Women in mariachi

In the 1940s, the first all-female mariachi band was formed, led by Carlota Noriega, with more groups following later, mainly in the United States. These female musicians faced discrimination because mariachi music was traditionally seen as a male-dominated art form influenced by a cultural belief that values male strength and dominance. To succeed, these groups used their appearance and sang songs about independence, life, love, and the right to vote. They wore the same traditional clothing as men, called traje de charro, but added long skirts and removed the hats.

Women in mariachi music were not widely accepted and were often not allowed to perform in places like taverns. However, as mariachi groups moved to cities, acceptance grew. Schools and music programs helped increase opportunities for people to learn and perform mariachi music, allowing both Hispanic and non-Hispanic women to participate.

In 1976, the first all-women mariachi group in the United States, Las Generalas, was formed. They avoided drinking alcohol or performing late at night to help the American public understand and respect mariachi music.

Dance

The most common dance style in mariachi music is called zapateado, which means "tap dance." It is a type of footwork borrowed from Spanish Flamenco dancing. This dance uses rhythmic tapping, following a pattern of pressing the foot flat, then tapping the heel, and repeating this sequence. A special wooden platform called a Tarima is used during this dance.

Ballet folklórico is a dance style that is not directly connected to mariachi, but both are often performed together on stage. Both styles feature clearly defined gender roles, detailed costumes, and encourage the audience to participate.

Musical forms

• Mariachi music allows groups to perform a specific group of songs.
• Nochistlán (sequential participatory music) creates a way for the audience to join in by choosing songs and even singing along with 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