Mariachi is a form of folk music from Mexico. Mariachi began as a regional folk style called "Son Jaliscience" in the center west of Mexico originally played only with string instruments and musicians dressed in the white pants and shirts of peasant farmers. From the 19th to 20th century, migrations from rural areas into cities such as Guadalajara and Mexico City, along with the Mexican government's cultural promotion gradually re-labeled it as Son style, with its alternate name of "mariachi" becoming used for the "urban" form. Modifications of the music include influences from other music such as polkas and waltzes, the addition of trumpets and the use of charro outfits by mariachi musicians. The musical style began to take on national prominence in the first half of the 20th century, with its promotion at presidential inaugurations and on the radio in the 1920s.

The word mariachi was thought to have derived from the French word "mariage" (marriage) dating from the French Intervention in Mexico in the 1860s, related to the music’s appearance at weddings. This was a common explanation on record jackets and travel brochures. However, this theory was disproven with the appearance of documents that showed that the word existed before this invasion. The origin of the word is still in dispute but most of the prominent theories state that it has indigenous roots. One states that it comes from the name of the wood from which the dance platform is made. Another states that "mariachi" comes from the indigenous name of a tree called pilla or cirimo and yet another states that it came from an image locally called "María H".

The term "mariachi" can refer to the music, the band or just one musician.


Prior to the arrival of the Spanish, indigenous music was played with rattles, drums, flutes and conch-shell horns as part of religious celebrations. The Spanish introduced violins, guitars, harps, brass instruments, and woodwinds which mostly replaced the indigenous instruments. The European instruments were introduced to be used during Mass but were quickly adapted to secular events. Indigenous and mestizo peoples learned to play and make these instruments often giving them modified shapes and tunings. In addition to instruments, the Spanish introduced the concept of musical bands, which, in the colonial period, generally consisted of two violins, a harp and various guitars. This grouping gave rise to a number of folk musical styles in Mexico.

One of these folk musical styles was the son. This music featured string instruments. Son music divided into various regional varieties—the variety popular in the Jalisco area was called son jaliscense, whose best known[clarification needed] is "La Negra". Modern mariachi music developed from this son style, with "mariachi" as an alternative name for son jaliscense. Early mariachi players did not look like those of today; they played only string instruments such as guitars and harps and dressed in typical peasant clothing: white pants and shirts with huarache sandals.

Those who could play the son jaliscense/mariachi music could find work at haciendas at a higher rate than those who could not.

The distinction of mariachi from the older son jaliscense occurred slowly sometime during the 19th century. The music originated in the center-west of Mexico. Most claims for its origin lie in the state of Jalisco but neighboring states of Colima, Nayarit, and Michoacán have also claimed it. However, by the late 19th century, the music was firmly centered in Jalisco. Most legends put the origin of the modern mariachi in the town of Cocula, Jalisco.

The distinction from son to modern mariachi comes from the modification of the music. By the end of the nineteenth century, the European art music tradition was firmly transplanted to Mexico, with opera, salon music, waltzes, and more written and performed both by Europeans and Mexicans in the country. One variety was the salon orchestras called orquestas típicas that performed in more rural settings, notably in charro outfits. This use of the charro outfit would be repeated again with the urban mariachi in the 1920s.

After the Mexican Revolution, many haciendas had to let workers go, including mariachis. Groups would wander and play for a fee, which then obliged them to incorporate other music into their repertoires including waltzes and polkas. It also forced them to play in public venues. From the late 19th century to the 1930s, mariachi bands were semi professional.

In the early 20th century, U.S. record companies were actively recording rural music in various parts of the world. One of these as a recording called Cuarteto Coculense by Columbia, Edison and Victor in 1908 and 1909, recognized as the "first" mariachi recordings. The music also gained attention in Mexico City when a wealthy hacienda family brought an early mariachi band from Cocula to play for President Porfirio Díaz in 1905.

Modern development

The common perception of the music and look of mariachi developed in the 20th century, as the music was transformed from a regional rural folk music to an urban phenomenon that came to represent Mexico. The music was first introduced to Mexico City in 1905. During this time, many farm workers moved to the city, including those from Jalisco, which settled around Plaza Garibaldi. These mariachi musicians developed new practices, such as performances in plazas and restaurants. However, it also continued its more traditional venues such as serenades, and performances at major family events.

During this time, the Mexican government was heavily involved in cultural promotion as a way to create a unified Mexican identity after the end of the Mexican Revolution. One of these efforts was the promotion of mariachi as an international symbol of Mexican identity, first with radio and sound recordings and later with films.

Mexico built a nationwide radio broadcasting network in the 1920s such as XEB and XEW, which began broadcasting mariachi music as a media production, rather than as a music for social events.This music was already being modified in part due to the advent of sound recording. For example, most son jaliscense songs were longer than the standard three-and-a-half minutes of the then-standard 78 rpm record, forcing the shortening of tunes. Around the same time, the popularity of jazz and Cuban music introduced the trumpet into mariachi, pushing the violins into second place and in some cases, replacing the harp.

The most prized of the mariachis remained those from the state of Jalisco, particularly the areas of Cocula and Tecalitlán. They represented Mexico to the people during the Independence Day celebrations in Mexico City in 1933 as well as during Lázaro Cárdenas' election campaign in 1936.

The charro tradition was strong in Jalisco, especially in a region called Los Altos. After the Revolution, the charreada became a national sport in Mexico and rings were constructed specifically for them, followed by professional charro associations. With the breakup of the large haciendas, charros were no longer economically necessary but were used as a cultural ideal, especially by the film industry in the mid-20th century. The first charro movies date from the 1920s, but the first to sing mariachi was Tito Guízar in Allá en el Rancho Grande in 1936. The character was played by Jorge Negrete in films such as ¡Ay, Jalisco… no te rajes! and ¡Así se quiere en Jalisco! The main characters used his ability to sing mariachi as a way to show strength, virility, and aesthetic beauty. Its use in film also made the music popular and a symbol of ethnic pride for Mexican Americans in the United States.

Its use in film also promoted a negative perception of mariachi music. The films associated the charros and mariachi music with machismo, womanizing and drinking, especially of tequila.The reason that the movies did this was that mariachi music was associated with bars and the lower classes in a number of segments of Mexican society in the early 20th century. This would change in the latter half of the 20th century, but the music remains strongly associated with tequila.

Mariachi music and musician became more professional with more formal training starting in the late 1940s and early 1950s, principally due to the success of a major mariachi band by the name of Mariachi Vargas. Their appearance in many films, backing many singing stars and their hiring of a formal musician prompted other mariachis to do the same. The band also expanded adding trumpets, violins and even a classical guitar to become a kind of orchestra, keeping the traditional son/mariachi base while integrating new musical ideas and styles. One other innovation, in contrast to the machismo of the style were the first female mariachi performers, Lola Beltrán and Lucha Villa. One night Mariachi Vargas put Beltrán on stage when she was a teenager. her versions of "Cucurrucucu Paloma" and "Tres Dias" are now considered classics.

Many of the traditional sounds of Cocula were lost as mariachi groups incorporated other musical styles that were popular on the radio. New influences have come into the genre from the Southwest. In both countries, however, the learning of traditional pieces and repertory is still stressed to form a base.

The International Mariachi Festival in Guadalajara is an annual ten-day event which attracts more than 500 mariachis performing in concert halls and streets of the city. Past players include Marichi Vargas de Tecalitlán, Nati Cano’s Mariachi Los Camperos and Mariachi América.

In Mexico City, the center of mariachi music remains Garibaldi Plaza. The plaza fills with mariachi musicians to solicit gigs from individual songs for passers-by to being hired for events such as weddings and baptisms. They even stand on Eje Central in front of the plaza to flag down passing cars. In 2010, the government renovated the plaza to make it more tourist-friendly, adding new paving, gardens, police, security cameras, painted facades, and a museum dedicated to mariachi and tequila. Although mariachis can be hired in Mexico City over the phone or on the internet, many people still prefer to come to the plaza, hear the musicians and haggle over the price. About 2,500 mariachis hold union cards to work in the plaza, but as many as 4,000 may circulate through on a busy weekend.

In 2011 UNESCO recognized the music as an Intangible Cultural Heritage, joining six others of this list from Mexico.


The size of a mariachi band varies depending on the availability of musicians. The usual mariachi group today consists of as many as eight violins, two trumpets and one or more guitars. Traditional mariachi guitars include the vihuela, a high-pitched, round-backed guitar which provides rhythm, and a bass guitar called a guitarrón. There is also sometimes a Mexican folk harp which can provide bass as well as ornament the melody. All are Mexican variations of European instruments. There is generally no lead singer as in other kinds of bands with all players singing choruses and taking turns singing the lead. Often the lead singer is assigned to a certain song due to voice qualities. Mariachi vocalization shows influences from a number of styles such as bolero (a romantic style), huapango (using falsetto), son jaliscense (an aggressive style) and more. Voices need to be strong to be heard over the instruments as they are often not amplified. Vocal style emphasizes operatic qualities and instrumental performance demonstrates a level of virtuosity that reflects advanced musical training. Historically, mariachi groups have been made up of men but there is growing acceptance of female mariachis.

As mariachi bands are expected to play requests, they may need to know hundreds of different songs. Most songs are about machismo, love, betrayal, death, politics, revolutionary heroes and even animals and country life from the genre origins as rural son music. One particularly famous song is "La Cucaracha".

Most mariachi bands are associated with family and religious celebrations along with serenades. One of the most common pieces played by the bands is "Las Mañanitas" for birthday and celebrations of patron saints.

In Mexico, mariachi music can be found as well as part of Catholic Mass. The Misa panamericana is a mariachi folk mass sung in Spanish with new arrangements of classic hymns such as "Kyrie Eleison". This innovation began in 1966 by Canadian priest Jean Marc Leclerc and it moved from a small church to the Cuernavaca Cathedral.

Mariachi Bands have also now become very popular in the UK at weddings and parties. However, instead of performing traditional Mariachi standards they are adopting popular songs (by artists such as The Human League and East 17) and playing them in Mariachi style and on Mariachi instrumentation.

Mariachi Vargas

Mariachi Vargas de Tecalitlán is recognized as the oldest and most famous mariachi ensemble, founded by Gaspar Vargas in the late 1890s. They moved from Jalisco to Mexico City and performed for the inauguration of Lázaro Cárdenas. Mariachi Vargas became famous accompanying singers such as Luis Miguel, Lola Beltrán, and Pedro Infante. Mariachi Vargas’s first recording was in 1937, the same year they appear in "Asi es mi Tierra". They appeared in over 200 films in the 20th century. Silvestre Vargas took over Mariachi Vargas de Tecalitlán from his father in 1958 and soon after hired a trained musician, Rubín Fuentes, as musical director. Fuentes along with Vargas were instrumental in the standardization of much of mariachi music, arranging traditional songs and writing new ones that would be performed by many of the legendary performers of the mid-20th century, such as Pedro Infante, Miguel Aceves Mejía, Lola Beltrán and José Alfredo Jiménez. Mariachi Vargas still remains, tracing its history in terms of generations, starting in the 1890s, with these generations maintaining the group’s authenticity as a mariachi band while the music has evolved. The last Vargas associated with the group died in 1985. That the group still considers itself the original band comes from the notion of passing on the music by generations of musicians, how the original song jaliscense was learned.

United States

The promotion of mariachi as representative of Mexico has led to the formation of mariachi groups in many countries such as Aruba, Egypt, Cuba, Spain, Croatia, Sweden, Peru, Colombia and Ecuador, with bands from these and more countries participating in Guadalajara’s International Mariachi and Charreria Conference.

The music has a strong following in the United States and top bands spend a lot of time on tour. Top mariachis have received star treatment in the United States, which is rare in Mexico. Mariachi Los Camperos has received a Grammy nomination for best Mexican-American album. Academic programs allow for instruction by famous mariachi bands and the opportunity to win awards.

The creation of mariachi groups in the United States began in California. Nati Cano was born in Jalisco in 1939 and moved to Los Angeles in 1959. He played in many mariachi bands backing singers but felt mariachi could stand alone. In 1969 he opened a restaurant called La Fonda in Los Angeles which featured his band called Los Camperos as part of a dinner show. The success of this enterprise and of Los Camperos in general have since inspired many mariachi bands in the United States. In the late 1980s, pop star Linda Ronstadt recorded "Canciones de Mi Padre" and "Más Canciones" with Mariachi Vargas de Tecalitlán and others which helped to promote its popularity among Mexican Americans and to non-Mexican Americans as well.

Some U.S. public schools offer mariachi as part of band classes. The first student mariachi band was begun in 1961 at the University of California, Los Angeles. This prompted the creation of other student organizations in other parts of California and then in Texas, where the first mariachi festival was held in 1979. Since then, there has been a strong synergy between academic programs and mariachi festivals which feature students and give mariachi classes and workshops.

Once school programs were limited to border areas such as San Antonio and Tucson but they have spread across the southwest and into other parts of the country, especially since the 1990s. There are at least 500 schools offering classes along with local and state competitions. In some US schools, mariachi ensembles have replaced school bands. Professional groups such as Mariachi Cobre, which regularly performs at Disney World, also spend time teaching in public schools.

In areas with large Mexican-American populations, mariachis are being hired for events outside this ethnic group as well. Outside of schools, the most important venue for the music in the United States is mariachi festivals with the longest running festivals in Tucson and Fresno. The Tucson International Mariachi Conference began in 1982. It originally was held in the downtown but in 2012 moved to the Casino Del Sol. It showcases over 500 elementary, middle, and high schools and college mariachi players. The Las Vegas International Mariachi Festival, established in 1991, is televised on Telemundo and PBS and has headlined artists such as Pedro Fernández, Ana Gabriel, and American born mariachi singer Pepe Aguilar and more.

Some consider the educational movement to be controversial with some trained the traditional manner looking down upon these programs and their potential to change the tradition. The changes, especially standardization of publishing, are slowing impacting mariachi in Mexico. One difficulty of arranging mariachi pieces is that the son jaliscense it is based on alternates between 3/4 and 6/8 time. Much of the published mariachi music is meant for people already familiar with the music to serve as guides, not to novices. On the other hand, many schools have problems recruiting mariachi instructors as many of these do not have required teaching credentials. For this reason, schools often hire trained musicians from outside the mariachi tradition. Many traditional mariachis are concerned that standardization will lead to fossilization and restrict improvisation.

Other innovations in the United States have been the incorporation of styles of artists such as Elvis Presley, Freddy Fender and Glenn Miller. Another is the encouragement of female mariachis including all-female mariachi bands such as Mariachi Mujer 2000 and Mariachi Divas. Mariachi Mujer has performed with Mexican artists such as Vikki Carr, Pablo Montero, Gerardito Fernandez and Nydia Rojas. Mariachi Divas have toured extensively in the United States and perform regularly at Disneyland and California Adventure in Anaheim.


Mariachi’s beginning as a son meant that it was originally a form of dance music and dancing is still important to mariachi. The most common dance technique found with mariachi is zapateado, a kind of footwork from Spain with pounding movements into a raised platform with often provides the percussion rhythm of mariachi and son music. The dance performed varies by region. Another dance style associated with both son and mariachi is jarabe, including the jarabe tapatío or Mexican hat dance.

Musical forms

Metre in 2/4 [chun-ta]

Canción ranchera (a dos tiempos)
Corrido (a dos tiempos)

Metre in 3/4 [chun-ta-ta]

Canción ranchera (tres tiempos)
Corrido (tres tiempos)
Valses mexicanos
Son Jaliscience

Classical music obertures

Metre in 4/4 [2 bars = chun-ta-chun-ta / chun-ta-ta-ta]

Bolero ranchero
Ranchera Lenta

Metre in 6/8

Son Jaliscience

Metre mixed

"Muerte de un gallero" (corrido-son)
"El Charro Mexicano" (ranchera-son)

(from the article Mariachi of Wikipedia)

Selected examples

Video A


Video B


Video C


Video D


Mariachis and artists

Antonio Aguilar
Pepe Aguilar
Ana Bárbara
Los Caballeros
Rocío Dúrcal
Shaila Dúrcal
Alejandro Fernández
Pedro Fernández
Vicente Fernández
Ana Gabriel
Juan Gabriel
Tito Guízar
Pedro Infante
José Alfredo Jiménez
Mariachi Juvenil de Tecalitlán
Miguel Aceves Mejía
Luis Miguel
Jorge Negrete
Jenni Rivera
Mariachi Sol de Mexico
Javier Solis
Chayito Valdez
Mariachi Vargas de Tecalitlán

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