A minimum mariachi group has 2 violins, 2 trumpets, 1 guitarrón, 1 guitar, and 1 vihuela. Complete mariachi groups have a minimum of 12 members with the standard 6 violins, 3 trumpets, 1 guitarrón, 1 guitar and 1 vihuela. A 13th member is often a harp, an extra violin, or an extra guitar. The Vargas de Tecalitlán currently has thirteen members, distributed as follows:
Violins: Manuel Alcaraz Vargas, Alberto Alfaro, José "Pepe" Martínez (Director), José Martínez Jr., Daniel Martínez, and Andres Gonzalez
Trumpets: Federico Torres (member since 1966), Gustavo Alvarado (since 1991), and Fernando Valasquez (since 2007)
Guitarrón: Enrique de Santiago (member of the group since 1989)
Guitar: Arturo Vargas (member of the group since 2003 and originating in Jalisco)
Vihuela: Gilberto aguirre (part of the group since 2011, being the newest member of Mariachi Vargas de Tecalitlán)
Harp: Julio Martínez (member since 1996)
The history of Mariachi Vargas de Tecalitlán is divided into five phases (or generations); the first generation from 1897 to 1930, the second from 1931 to 1949, the third from 1950 to 1993, the fourth from 1994 to 2002 and the fifth since 2003 to date.
1st generation (1897–1930)
The Mariachi Vargas de Tecalitlán was born in a small city called Tecalitlán, to the south of Jalisco. Founded in 1897 by Don Gaspar Vargas the formation during those years was provided by the guitarra de golpe (or mariachera) played precisely by Don Gaspar, the wooden harp by Manuel Mendoza, and two violins played by Lino Quintero and Refugio Hernandez. The combination of these instruments established the "Sonido Tecalitlán" which distinguished from the "Sonido Cocula". (The Mariachi from Cocula utilized the guitarron and the vihuela in place of the harp and the guitarra de golpe aside from the two violins). In 1913, Don Gaspar introduced one trumpet to the group but it was not well accepted and, in later performances, its high-pitched sound was considered annoying. The cornet was replaced by another violin. The group consisted then of five elements. The son of Don Gaspar Vargas, Silvestre Vargas, joined as a violinist in 1921. From 1926 the group consisted of Gaspar Vargas - Guitarra de golpe, Manuel Mendoza - Harp, Silvestre Vargas, Trinidad Olivera and Nicolas Torres - Violins.
2nd generation (1931–1949)
In 1931 Gaspar Vargas turned the leadership of Mariachi Vargas de Tecalitlán over to his son, Silvestre. As the first step in his reorganization Silvestre decided to enlarge the group to eight musicians. He invited his compatriots, the Quintero brothers, Rafael and Jeronimo to join. One played a violin and the other a guitar. Later he would add another violin played by Santiago Torres. He moved Trinidad Olivera from the violin to the guitarron, although still preserving the wooden harp. It was Silvestre who possessed a dream that his group would one day be the greatest mariachi in all Mexico and he was relentless in his pursuit of fulfilling that dream. The Mariachi Vargas was something of an oddity in the early 1930s; the members were all dressed in charro suits, they showed up on time for performances, and they were sober.
In 1933 they won first place in a Mariachi contest celebrated in Guadalajara. Then again, in Mexico City, in 1934, they were awarded another first place prize. President Lázaro Cárdenas, who enjoyed the music of "Vargas", subsequently had the group hired as the official mariachi of the Mexico City Police Department and the group moved to Mexico City where they remained for 20 years. They provided music and entertainment for the capital city at its parks and gardens. Beginning in 1937, the Mariachi Vargas appeared in "Asi es mi Tierra", the first of its more than 200 motion pictures. They played in many of Pedro Infante's movies as well. In that same year they recorded their first record and signed an exclusive contract with RCA.
In 1941 they definitively integrated the trumpet into the musical interpretations of the group. Miguel Martínez was the first trumpet player for Mariachi Vargas de Tecalitlán. He is considered the creator of the mariachi-style trumpet and the best performer, teacher and example of the instrument. In 1944, Rubén Fuentes, a classical violinist with no background in mariachi music, was asked by Silvestre to join the group. He joined as a violinist and became music adjuster. Silvestre Vargas and Ruben Fuentas reorganized Mariachi Vargas de Tecalitlán and changed their image and sound. They demanded a professional presentation to overcome the unruly concept that the term "mariachis" had to the general public in those days.
3rd Generation (1950–1993)
Fuentes took complete responsibility for the group's musical direction, and enriched the evolution that for many years had conserved the primitive and unstudied qualities of mariachi. The changing sound of the Mariachi Vargas de Tecalitlán was redirected without the abandonment of its roots or traditions. The Huapangos and Sones (which were two very distinctive styles of the mariachi music) were being interpreted in many diverse and different ways. The Mariachi Vargas recorded the Sones with arrangements and adaptations as patterns for other groups. This stratagem promoted the concept that all mariachi groups could be unified to those versions by taking them as examples. The traditional songs and the original sound of the mariachi began to mature in the 1950s. It was during the recordings of the "Golden Age of the Huapangos" that the compositions, arrangements and musical direction of Rubén Fuentes, and the unequaled voice of Miguel Aceves Mejía, initiated a musical shift that would change the sound and instrumentation of the mariachi. Due to the fact they change mariachi from the start they choose to keep it in away that it would still be traditional.
Revolutionary new harmony
In 1955 Rubén Fuentes stopped performing in the group. However, to date he maintains his position as producer, musical arranger and musical director, assisted during this first age by Jesús Rodríguez de Hijar and, under both, the administrative and leadership skills of Silvestre Vargas. In 1966 Rubén Fuentes wrote "La Bikina", a song that was recognized as the epitome of this Revolutionary New Harmony and sound of the mariachi. He continues to write and produce music for Mariachi Vargas that takes is an emotional roller coaster from the height of happiness to the despair of a broken heart or a lost love. As much in Mexico as in foreign countries the Sones and Huapangos acquire new directions.
Mariachi conferences
In the 1970s interest in mariachi music was waning. But all that changed when San Antonio, Texas held its first international mariachi conference in September 1979. In 1975, Jose "Pepe" Martinez, Sr. became the musical director of Mariachi Vargas. He wrote many arrangements including "Violin Huapango" which individually showcase the different instruments and members in the group. In 1983, the Mariachi Vargas appeared for the first time at the Tucson International Mariachi Conference. A new movement began to grow and many other conferences began to develop. The Mariachi Vargas was often chosen as the headline performer.
In 1986, Linda Ronstadt appeared with the Mariachi Vargas at the Tucson International Mariachi Conference where she sang publicly in Spanish for the first time. In 1987 she released her "Canciones de mi Padre" album featuring Mariachi Vargas which won her a Grammy award for the album. She also went on a national tour with the group, giving greater international exposure to mariachi music than ever before and creating a new audience for mariachi music among non-Hispanics.
Classical mariachi
In 1989, the Mariachi Vargas released their "En Concierto" CD featuring some of the greatest renderings of classical music ever played by a mariachi group. They also accompanied Lucero in the 1990s as she rose in the ranks of contemporary musical stardom. The Mariachi Vargas de Tecalitlán initiated a series of solo recordings: Sones, Valses, Pasos Dobles, Bailes Regionales, Polkas, Clasico e International, etc. They have added more than 50 recordings of mariachi music interpreted by what has become "The Best Mariachi in the World."
4th generation (1994–2002)
It is known by all mariachi lovers that this generation was the most talented group of musicians performing since 100 years of their foundation.[citation needed] In their album "La fiesta del Mariachi", Mariachi Vargas de Tecalitlán, fourth generation, the group integrates to make a tribute to Jose "Pepe" Martínez, who besides his magnificent musical arrangements and direction of the group, inspired many as a composer. Their recordings on Polygram with this generation include are, "El Mariachi Vargas", "En Concierto", "Los sones Reyes", "La fiesta del Mariachi" and "50 anniversary of Rubén Fuentes". Rubén Fuentes's arrangements and music with the Mariachi Vargas de Tecalitlán are the first five recordings for the one-hundredth anniversary of the foundation of "Vargas" in 1997.
5th generation (2003–present)
In 2003 Mariachi Vargas de Tecalitlán began its fifth generation. Their latest recordings are, "5ta Generacion", "Sinfonico I", "Sinfonico II", and "Penas, Desengaños... Y Amores". Today the group is composed of two harps, one vihuela, one guitar, one guitarron, three trumpets and six violins. With the added instruments, a new sound has emerged that crosses all international borders. The music they play now ranges from the traditional sones to classical works as well as popurris that continue to delight audiences everywhere. In the 100 years since its foundation, the group has gone through some major changes. While there has been some departure from the tradition during that time, the group has maintained its roots through the playing of traditional Mexican sones. In 1997, "Mariachi Vargas de Tecalitlán" celebrated its first One Hundred years of foundation.
Discography
From 1937 until now (2009), the Mariachi Vargas has produced over 50 recordings, whose contents are Huastecos sones, waltzes, popurris, polkas, huapango, cumbias, among others.
Danzones (1964 RCA)
Mariachi *Colección Original (BMG Latin, 1999) –This is a recording recompilation made while 1958–1968 -.
Lo Mejor de lo Mejor (BMG Latin, 2000) –This is a recording recompilation made while 1958–1967 -.
Tradicionales de México Lindo Y Querido (LIDERES, 2001).
Sinfónico With Orquesta Filarmónica del Estado de Querétaro (2001) –Directed by Maestro José Guadalupe Flores-.
5ta. Generación (2002).
Sinfónico II With Orquesta Filarmónica del Estado de Querétaro (2002) Directed by Maestro José Guadalupe Flores-.
Penas, Desengaños Y Amores (2004).
Y aquí estamos (2008).
Jalisco y Andalucía
Mariachi Vargas De Tecalitlan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Vendió toda su alegria.
(Más núnca pudo vender, todo el dolor que tenía)
(Todo el dolor que tenía, jamás lo pudo vender)
Pensó en vender el mar y así comprar el rocio
Después con lo del rocío
(Comprarse bosques y ríos para cambiarlos por aves)
(Vendo primaveras por cinco centavos)
(Compro ilusiones con lagrimas nuevas)
Y cambio alegrías por un buen consejo
Regalo consejos para las tristezas.
(Compro un arrebol, un lote de estrellas)
(Compro el mar, el cielo, la tierra y las rosas)
Compro todo, todo, menos amarguras
Negra mercancia, y yo el dueño de ella.
Muy mal pagaron su amor que compró rosas y sol
Muy mal le fue al mercader
(Le dieron dos desengaños como dos tristes monedas)
(Y por sus tristes monedas sólo le dieron más penas)
(Vendo primaveras por cinco centavos)
(Compro ilusiones con lagrimas nuevas)
Y cambio alegrías por un buen consejo
Regalo consejos para las tristezas.
(Vendo mi caballo cargado de auroras)
(Mi barco sín rumbo, mi parte de abril)
Vendo todo, todo por comprar dos cosas
Dos cosas hermosas, amar y vivir.
Creció como crece el ciervo, verdeando la montaña
(No tiene amarras ni soporta el cautiverio)
(Ella es libre en cuerpo y alma)
Como las aves alzando al vuelo con rumbo al cielo
Al ritmo de sus cantares van naciendo mil canciones
(Y la arbolara les regala sus colores)
(En los vuelos de su falda)
Se van prendiendo cuelgas de amores besos y flores
Es flor del viento y en el viento esta ahí
No reces jamas las penas, porque en sus penas corre el amor
Es flor del viento y en el viento esta ahí
Se adorna con brisa y lluvia y se engalana
(Con luz del Sol)
El niño quiso ser pez, metió los pies en el río
Estaba tan frío el río que ya no quiso ser pez
Estaba tan frío el río que ya no quiso ser pez
El niño quiso ser ave se asomo al balcon del aire
Estaba tan alto el aire que ya quiso ser ave
Estaba tan alto el aire que ya quiso ser ave
(El niño quiso ser perro, se puso a ladrar a un gato)
Lo trato tan mal el gato que ya no quizo ser perro
(El niño quiso ser pez, metió los pies en el río)
Estaba tan frío el río que ya no quiso ser pez
El niño quizo ser hombre empezó a ponerse años
Le estaban tal mal los años que ya no quiso ser hombre
Le estaban tal mal los años que ya no quiso ser hombre
Y ya no quiso crecer no queria crecer el niño
Se estaba tan bien de niño pero tuvo que crecer
Se estaba tan bien de niño pero tuvo que crecer
(Y en una tarde al volver a su placeta de niño)
El hombre quiso ser niño pero ya no pudo ser
(El niño quiso ser pez, metió los pies en el río)
Estaba tan frío el río que ya no quiso ser pez
(Quiso ser ave)
Quiso ser perro
(Quiso ser hombre)
Quiso ser niño
(Pero ya no pudo ser)
The song "Jalisco y Andalucia" by Mariachi Vargas de Tecalitlán is about a merchant who sells all his happiness and joy, yet is unable to sell his pain and sadness. The merchant contemplates selling the sea to buy the "rocío" (morning dew), then with the "rocío", he plans to buy forests and rivers, and trade them for birds while selling his songs for Mayos, roses, and sun. The merchant goes on to sell spring for just five cents, buys illusions with new tears, and trades happiness for good advice, ultimately giving advice for sadness. He then buys a sunset, a sky full of stars, the sea, the sky, the earth, and roses, but he cannot buy bitterness, which he owns. Despite all that he acquires, the merchant is poorly compensated because he bought roses and sun for love, which resulted in two disappointments. He sells everything he owns, horses, boats, and shares of April just to buy two beautiful things: love and life.
The song also touches on the idea of growth and change. The lyrics describe a child who wants to be different things (a fish, a bird, a dog, and then a man), but ultimately feels dissatisfied with each experience. Though the child does not want to grow up, they are unable to stop the passage of time and eventually cannot return to their former childhood state.
Line by Line Meaning
Yo soy como el mercader que vendió todo su placer
I am like the merchant who sold all his joy.
Vendió toda su alegría.
He sold all his happiness.
(Más nunca pudo vender, todo el dolor que tenía)
But he could never sell all the pain he had.
(Todo el dolor que tenía, jamás lo pudo vender)
All the pain he had, he could never sell.
Pensó en vender el mar y así comprar el rocío
He thought of selling the sea and buying dew.
Después con lo del rocío
Then with the dew.
(Comprarse bosques y ríos para cambiarlos por aves)
Buying forests and rivers to exchange them for birds.
(Y rematar sus cantares por mayos, rosas y sol)
And selling his songs for May celebrations, roses, and sun.
(Vendo primaveras por cinco centavos)
I sell springs for five cents.
(Compro ilusiones con lágrimas nuevas)
I buy illusions with new tears.
Y cambio alegrías por un buen consejo
And I exchange joy for good advice.
Regalo consejos para las tristezas.
I give advice for sadness.
(Compro un arrebol, un lote de estrellas)
I buy a sunset, a set of stars.
(Compro el mar, el cielo, la tierra y las rosas)
I buy the sea, the sky, the land, and the roses.
Compro todo, todo, menos amarguras
I buy everything, everything, except bitterness.
Negra mercancía, y yo el dueño de ella.
Black merchandise, and I am its owner.
Muy mal pagaron su amor que compró rosas y sol
They paid poorly for his love that bought roses and sun.
Muy mal le fue al mercader
The merchant had a very bad time.
(Le dieron dos desengaños como dos tristes monedas)
They gave him two disappointments like two sad coins.
(Y por sus tristes monedas sólo le dieron más penas)
And for his sad coins, they only gave him more pain.
(Vendo mi caballo cargado de auroras)
I sell my horse loaded with dawns.
(Mi barco sin rumbo, mi parte de abril)
My aimless boat, my share of April.
Vendo todo, todo por comprar dos cosas
I sell everything, everything, to buy two things.
Dos cosas hermosas, amar y vivir.
Two beautiful things, love and life.
Creció como crece el ciervo, verdeando la montaña
He grew like a deer, greening the mountain.
(No tiene amarras ni soporta el cautiverio)
He has no moorings and cannot tolerate captivity.
(Ella es libre en cuerpo y alma)
She is free in body and soul.
Como las aves alzando al vuelo con rumbo al cielo
Like birds flying high to the sky.
Al ritmo de sus cantares van naciendo mil canciones
To the rhythm of their songs, a thousand songs are born.
(Y la arbolara les regala sus colores)
And the tree gives them their colors.
(En los vuelos de su falda)
In the flights of her skirt.
Se van prendiendo cuelgas de amores besos y flores
They are adorned with love, kisses, and flowers.
Es flor del viento y en el viento esta ahí
She is a flower of the wind and is there in the wind.
No reces jamás las penas, porque en sus penas corre el amor
Never pray for sorrows, because love runs through them.
(Es flor del viento y en el viento está ahí)
She is a flower of the wind and is there in the wind.
Se adorna con brisa y lluvia y se engalana
She adorns herself with breeze and rain and becomes beautiful.
(Con luz del Sol)
(With the light of the sun)
El niño quiso ser pez, metió los pies en el río
The child wanted to be a fish, he put his feet in the river.
Estaba tan frío el río que ya no quiso ser pez
The river was so cold he no longer wanted to be a fish.
El niño quiso ser ave se asomó al balcón del aire
The child wanted to be a bird, he looked out from the balcony of the air.
Estaba tan alto el aire que ya quiso ser ave
The air was so high he wanted to be a bird.
(El niño quiso ser perro, se puso a ladrar a un gato)
(The child wanted to be a dog, he started barking at a cat)
Lo trato tan mal el gato que ya no quiso ser perro
The cat treated him so badly that he no longer wanted to be a dog.
(El niño quiso ser pez, metió los pies en el río)
(The child wanted to be a fish, he put his feet in the river.)
(Quiso ser ave)
(He wanted to be a bird.)
Quiso ser perro
He wanted to be a dog.
Quiso ser niño
He wanted to be a child.
(Pero ya no pudo ser)
(But he could not be.)
Contributed by Ethan F. Suggest a correction in the comments below.
Gildardo Nuñez
on El Suchil
para todos mis amigos del facebook, dis fruten de musica de un buen mariachi, aqui lo tienen¡¡¡