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).
Pelea de Gallos
Mariachi Vargas De Tecalitlan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Entren a la partida
Llamen a corredores
Zacatecas contra Nuevo León
Cien al tiro parejo
Vengan los gallos
A la Feria de San Marcos
Van llegando los valientes
Con su gallo copetón
Y los traen bajo del brazo
Al sonar de la partida
Pa′ jugarse hasta la vida
Con la fe en un espolón
Linda la pelea de gallos
Con su público bravero
Con sus chorros de dinero
Y los gritos del gritón
Retozándonos el gusto
No se sienten ni las horas
Con tequila y cantadoras
Que son puro corazón
Ay, fiesta bonita
Que hasta el alma grita
Con todas sus fuerzas
Viva Aguascalientes (viva)
Que en su feria es un primor, ayá
Y arriba Aguascaliente, Getave de San Marcos
Sí señor
Ya comienza la pelea
Las apuestas ya cazadas
Las navajas amarradas
Centellando bajo el sol
Cuando sueltan a los gallos
Temblorosos de coraje
No hay ninguno que se raje
Para darse un agarron
Con las plumas relicientes
Y aventando picotazos
Quieren hacerse pedazos
Pues traen ganas de pelear
En el choque cae el giro
Sobre el suelo ensangrentado
Ha ganado el colorado
Que se pone ya a cantar
Ay, fiesta bonita
Que hasta el alma grita
Con todas sus fuerzas
Viva Aguascalientes (viva)
Que en su feria es un primor
The song "Pelea de Gallos" by Mariachi Vargas de Tecalitlán is about a rooster fight that takes place at the Feria de San Marcos in Aguascalientes, Mexico. The lyrics describe the excitement and anticipation leading up to the fight, with the roosters being brought in and the bets being placed. The crowd is described as passionate and rowdy, shouting and cheering on their favorite roosters. The roosters themselves are depicted as fierce and determined, willing to fight to the death for the chance to be declared the winner.
In addition to the rooster fight itself, the song also touches on the festive and celebratory atmosphere of the Feria de San Marcos. The mention of tequila and music suggests that the people in attendance are there to have a good time and enjoy the festivities. The chorus of the song is a call to celebrate the city of Aguascalientes and its annual fair, which is apparently known for its beauty and grandeur.
Overall, "Pelea de Gallos" is a lively and energetic song that captures the excitement and passion of a traditional Mexican rooster fight. It celebrates the thrill of competition and the joy of coming together to enjoy a cultural event.
Line by Line Meaning
Silencio, señores
Everyone quiet down
Entren a la partida
Come to the match
Llamen a corredores
Call the runners
Zacatecas contra Nuevo León
Zacatecas versus Nuevo León
Cien al tiro parejo
A hundred on the equal shot
Vengan los gallos
Come the roosters
A la Feria de San Marcos
To the San Marcos Fair
Del merito Aguascalientes
In the very heart of Aguascalientes
Van llegando los valientes
The brave ones are arriving
Con su gallo copetón
With their crested rooster
Y los traen bajo del brazo
And they bring them under their arm
Al sonar de la partida
At the start of the match
Pa′ jugarse hasta la vida
To bet everything, even their lives
Con la fe en un espolón
With faith in the spur
Linda la pelea de gallos
Beautiful the rooster fight
Con su público bravero
With its bold audience
Con sus chorros de dinero
With their streams of money
Y los gritos del gritón
And the shouts of the loud one
Retozándonos el gusto
Enjoying ourselves
No se sienten ni las horas
We don't even feel the time pass
Con tequila y cantadoras
With tequila and singers
Que son puro corazón
Who are pure heart
Ay, fiesta bonita
Oh, beautiful party
Que hasta el alma grita
That even the soul shouts
Con todas sus fuerzas
With all its might
Viva Aguascalientes (viva)
Long live Aguascalientes
Que en su feria es un primor, ayá
That in its fair is a splendor, over there
Y arriba Aguascaliente, Getave de San Marcos
And up with Aguascalientes, Getave from San Marcos
Sí señor
Yes sir
Ya comienza la pelea
The fight is starting now
Las apuestas ya cazadas
The bets already placed
Las navajas amarradas
The knives tied up
Centellando bajo el sol
Sparkling under the sun
Cuando sueltan a los gallos
When they release the roosters
Temblorosos de coraje
Trembling with courage
No hay ninguno que se raje
None of them back down
Para darse un agarron
To have a battle
Con las plumas relicientes
With their shiny feathers
Y aventando picotazos
And throwing pecks
Quieren hacerse pedazos
They want to rip each other apart
Pues traen ganas de pelear
Because they have the desire to fight
En el choque cae el giro
In the collision, the round falls
Sobre el suelo ensangrentado
Onto the bloody ground
Ha ganado el colorado
The red one has won
Que se pone ya a cantar
Who starts singing now
Ay, fiesta bonita
Oh, beautiful party
Que hasta el alma grita
That even the soul shouts
Con todas sus fuerzas
With all its might
Viva Aguascalientes (viva)
Long live Aguascalientes
Que en su feria es un primor
That in its fair is a splendor
Writer(s): Juan S. Garrido
Contributed by Makayla A. Suggest a correction in the comments below.
kamara garciano
A la feria de San Marcos,
del merito Aguscalientes,
van llegando los valientes,
con su gallo copetón.
Y lo traen bajo del brazo,
al sonar de la partida,
pa' jugarse hasta la vida,
con la fé en un espolón.
Linda la pelea de Gallos,
con su público bravero,
con sus chorros de dinero,
y los gritos del gritón.
Retozandose de gusto,
no se sienten ní las horas,
con tequila y cantadoras,
que son puro corazón.
¡Ay fiesta bonita!,
que hasta el alma grita,
con todas sus fuerzas,
¡viva Aguascalientes'n! (¡viva!)
que su feria es un primor.
(música)
Ya comienza la pelea,
las apuestas ya cazadas,
las navajas amarradas,
centellando bajo el sol.
Cuando sueltan a los gallos,
temblorosos de coraje,
no hay ninguno que se raje,
para darse un agarrón.
Con las plumas relicientes,
aventando picotazos,
quieren hacerse pedazos,
pues traen ganas de pelear.
En el choque cae el giro,
sobre el suelo ensangrentado,
ha ganado el colorado,
que se pone ya a cantar.
¡Ay fiesta bonita!,
que hasta el alma grita,
con todas sus fuerzas,
¡viva Aguascalientes'n! (¡viva!)
que su feria es un primor.
Victor Manuel Machado de León
Muy bonita música la de Mexico 🇲🇽, en Cuba 🇨🇺 en mi ciudad Santa Clara hay un programa que se emite de Lunes a Viernes y dura 30 minutos que es solo de música mexicana que por cierto en la isla gusta muchísimo!
Rigoberto Medina Durán
Soy de Michoacán y me encanta esta canción. Saludos a los hermanos hidrocálidos. México es uno solo y tenemos el gusto de sentir como nuestra toda esta música, desde el "Juan colorado", "El son de la negra" "Pelea de gallos" hasta "La zandunga " o el "Dios nunca muere".
Rafael Alvarez
papiroinsectmetal que chingona Rola
José Guadalupe Martínez Villalobos
Que bonita es nuestra música Mexicana no importa la región. Siempre nos alegra
Marco Antonio Mora Reyes
Es lo máximo de México para todo el mundo y viva México señores
daniel garcia
La escucho y siento un sentimiento de alegría y al empezarla a cantar la voz se entrecorta de alegría y al mismo tiempo escurren mis lágrimas
Roberto Almendarez
La mejor versión que eh escuchado!!!
Las primeras tonadas de la canción se te enchina la piel, saludos hermanos hidrocalidos del vecino estado de San Luis Potosí
fernando sisu
VIVAA MEXICO EN VERDAD ES UNA HERMOSURA SER DE ESTA TIERRA
Jaime Larroyo
Esta musica tiene tanta fuerza, espiritualidad, y calidad que se ha difundido y arraigado x tofo el mundo.MI MARIACHI
Cinthia Salazar
Qué espiritualidad puede haber en una canción que promueve el maltrato animal?