Son jalisciense (son ha-lee-see-EN-se). The son jalisciense is the quintessential mariachi genre. No group is truly a mariachi until it has mastered the son. Marked by the driving alternation between 3/4 and 6/8 rhythms, the son is the ultimate mariachi expression of alegría or joy. Sones include numerous stylistic elements: fast tempos, sharply-tongued articulation in the trumpets, aggressive bowing in the violins, exuberant singing, and complicated syncopations and counter rhythms for the guitar, vihuela, and guitarrón.

In spite of these challenges, the learning of the son jalisciense can begin in the first year if the musical elements are broken down sufficiently. Mi Tierra, El Tirador, El Carretero, La Madrugada, La Mariquita, El Tranchete, La Culebra, El Relámpago, and Guadalajara are all sones which can be learned by intermediate groups. Because of its shifting rhythms and ensemble requirements, La Negra, the signature piece of the mariachi, should not be the first son tackled. Las Olas, El Cuatro, Los Arrieros, and El Pasajero are all examples of complicated sones to reserve for advanced students.

Canción ranchera (or simply ranchera) (can-see-ON ran-CHAY-ra). The canción ranchera is the emotionally charged personal outpouring of the singer and is the most commonly heard genre of mariachi music. The ranchera may be very simple, often using only two chords, and is usually the entry-level song type for beginning mariachi students. In spite of their simplicity, the impact of well-chosen rancheras can be amazingly strong, and depends primarily on the feeling projected by the singer(s). Three types of armonía accompaniment are found: the 3/4 ranchera valseada (waltz rhythm), the 2/4 ranchera polqueada (polka rhythm), and the slow 4/4 ranchera.

Ella, El Rey, Tú Sólo Tú, Los Laureles, El Herradero, Por un Amor, Volver, Volver, Camino de Guanajuato, Caminos de Michoacán, and Paloma Negra are frequently requested examples that belong in every group’s repertoire.

Bolero (bo-LAY-ro). The mariachi bolero is a romantic song in 4/4 time. Rhythmically the bolero is simple to execute, yet the chordal vocabulary is much richer than in the ranchera and presents difficulties for beginning students. As with the ranchera, impact depends on the ability of the singer to project the meaning of the lyrics. Sabor a Mí, Gema, Cerca Del Mar, Sin Ti, Solamente Una Vez, De Qué Manera te Olvido, Por Mujeres Como Tú, Reloj, and Si Nos Dejan are frequently requested standards.

Corrido (coh-RIH-doh). The mariachi corrido is similar musically to the ranchera. The distinguishing characteristic between the genres lies in the lyrics. The corrido is a narrative song type and its verses relate a series of events. Corridos deal with historical events such as the Mexican Revolution or with personal experiences of significance. A whole body of corridos is devoted to famous horses, while more recently, drug or people smuggling has been a favorite topic. Not all corridos are appropriate for students. Some well-known corridos appropriate for student groups are Siete Leguas, Carabina Treinta Treinta, and El Caballo Blanco.

Polka. The polka is very effectively rendered by the mariachi and several examples should be part of every group’s repertoire. As an instrumental genre, polkas allow singers a chance to rest—an important consideration for student mariachis that may rely heavily on one or two solo singers. The polka may require fairly advanced technique from the trumpets and often the violins, but there are some examples that can be successfully played by intermediate mariachi students: Jesusita en Chihuahua, Las Perlitas, and El Garabato.

Waltz. Like the polka, the Mexican waltz (vals) is effectively rendered by the mariachi. Even a beginning mariachi should be able to play at least one waltz since student groups are frequently asked to entertain at quinceañeras, the elaborate celebration of a girl’s 15th birthday. Alejandra, Sentimiento, Dios Nunca Muere, and Viva mi Desgracia are good examples of Mexican waltzes. Aniversario (Anniversary Waltz), while not of Mexican origin, should be included in a group’s repertoire if they are going to play at family celebrations.

Huapango (wa-PAN-go). The huapango is the mariachi adaptation of the son huasteco and a first cousin of the son jalisciense. The armonía (guitar/vihuela) accompaniment uses alternating 3/4 and 6/8 rhythms, and syncopation is common. The element that distinguishes the huapango from the son jalisciense is the use of the apagón, or dampening of guitar and vihuela strings immediately after certain chords are sounded. The apagón softens the aggressive drive characteristic of the son jalisciense and creates subtle rhythmic shifts. Huapangos also feature virtuosic violin melodies and falsetto singing. This genre is generally appropriate for advanced groups. The two most requested huapangos in the mariachi repertoire are La Malagueña and Cucurrucucú Paloma.

Joropo (ho-RO-poh). The joropo is of Venezuelan origin and entered the mariachi repertoire in the early 1970s at a time when the Mariachi Vargas de Tecalitlán made extended annual tours to Venezuela. The joropo is similar to the huapango in many ways, including the use of apagón, shifting 3/4 and 6/8 rhythms, syncopation, and counter rhythms. Many mariachi joropos use complicated harmonies and unusual melodies derived from jazz and international pop music as this genre entered the mariachi repertoire when a good deal of experimentation was taking place. This genre is for advanced student ensembles. The most commonly played joropos are La Bikina, La Fuente, La Gruta, Alma Llanera, and Mi Ciudad.

Pasodoble (pa-so-DO-blay). The pasodoble is an instrumental genre of Spanish origin and is rhythmically similar to the polka. In a classic pasodoble, an opening section in the minor mode features a brilliant trumpet melody, while the second section in the relative major begins with the violins. The pasodoble can be of great impact when well played but is usually reserved for advanced students.

El Dos Negro and España Cañí are pasodobles that I have seen effectively performed by student mariachis. El Niño Perdido is one of the most requested pieces in the entire mariachi repertoire, though not strictly a pasodoble. El Zopilote Mojado, another frequently requested piece, is a cross between a pasodoble and polka. Both pieces require advanced trumpet players but are not out of reach for some student mariachis.

Danzón (dan-SOHN). The danzón is a dance genre of Cuban origin based on an asymmetrical division of the 4/4 measure: 3 + 3 + 2 (eighth notes). Although much more popular a generation ago, I have seen the danzón used successfully as a show piece by one or two student mariachis. The unusual rhythms, brilliant trumpet parts, and high register violin melodies are only for advanced level players. The two best-known danzones are Juárez and Nereidas.

Cumbia (COOM-biah). The cumbia entered the mariachi repertoire in the middle 1970s with the smash hit, El Mariachi Loco (yes, El Mariachi Loco is 30 years old). Based on a Colombian dance genre, it achieved early success, faded, and has been revived by student mariachis in the United States during the last decade. While appropriate for backyard parties or dances, my personal feeling is that it does not belong in concerts, an opinion supported by the Albuquerque Mariachi Conference, where it is banned from the student mariachi competition. In addition to El Mariachi Loco, a number of cumbias have been recorded by El Mariachi Vargas, Mariachi México, and Mariachi Nuevo Tecalitlán.

Son jarocho (son ha-ROH-cho). The son jarocho is the regional variant of the Mexican son found in Veracruz. It has been effectively adapted for the mariachi with the intricate harp and requinto melodies of the conjunto jarocho being given to the mariachi violins and sometimes the trumpets. The jarocho concept of solo improvisation by individual instruments allows each section of the mariachi to demonstrate its technical skill. The best known son jarocho in the mariachi repertoire is El Cascabel which features a succession of virtuoso solos by each of the mariachi instruments. This piece is often attempted by students who do not have sufficient technique and is frequently “butchered.” Directors wishing to mount El Cascabel should eliminate one or more of the solos if students are not capable of executing them with aplomb.

Potpourrí (popurrí) (poh-purr-EE). With the proliferation of the mariachi festivals during the past 25 years, top-level professional mariachis have been pitted against one another in large venues ever more frequently. To maximize limited time slots, these groups frequently create medleys (potpourrís) from segments of well-known songs. These arrangements have become ever more elaborate and virtuosic, both instrumentally and vocally.

The potpourrí, in most cases, should only be attempted by advanced level students. Early potpourrís from the Mariachi Vargas album, “Fiesta en Jalisco,” include El Rancho Grande, Cielito Lindo, and Mis Caballos. Subsequent recordings by the Mariachi Vargas include Viva Veracruz I, Viva Veracruz II, and Viva Veracruz III. Almost all major mariachis have recorded potpourrís.