MARIACHIS DEL NORTE

Lorenzo Martinez is a 65-year-old violinist who learned to play at the age of nine. He is a master artist in the Northern New Mexico violin style and has recorded four albums of such music. He is from a musical family and was introduced to the music by his father, Roberto Martinez. Roberto played vihuela with his group, Los Reyes de Albuquerque. Lorenzo learned the tunes from cassette tapes that Roberto recorded from various elderly violin players from Mora, Las Vegas and Cuba, NM. Lorenzo enhanced the music on his recordings with another violin and rhythm guitars. At the age of 13, Lorenzo ventured into the world of Mariachi music and has been playing both music styles ever since. Larry Martinez, born and raised in Albuquerque, NM is a 36-year-old New Mexican Music/Mariachi rhythm player. “I've been performing since the age of eight years and started under my grandfather Roberto's group, Los Reyes de Albuquerque. I started out first with violin for many years. I took private lessons as well as my father Lorenzo teaching me his style of violin playing. One day I picked up a guitar and started messing around and thought to myself that I really liked it. My uncle Rob Martinez would give me guitar lessons every now and then on the basics. Until one day I got intrigued with the vihuela that my grandfather played and had in his office. Never knew much about it until I started really getting into it and I absolutely loved the sound it produced. Ever since that day, I was hooked and has been my primary instrument ever since. I also know how to play the guitarron as well. Eventually I got invited to play with my first professional Mariachi group in the late '90s and worked with them playing vihuela when I

was around 13 or 14 years old. The same as my father Lorenzo, I use to love to listen and practice to cassette tapes and wanted to learn more and more. I listened to a lot of the old Los Reyes recordings as well as the current at the time Mariachi stuff as well. I've been fortunate to have worked with the local musicians that I had looked up to since I was small and have also worked with some big names in the business. Music has always been a family thing and always will be, I'm sure. To this day I still play both the New Mexico music and Mariachi.” Mariachi musicians typically play in more than one group and make themselves available, based on their instrumental and singing talents.

José Carrillo - voice and guitarrón Miguel Ojeda - voice and trompeta Joseph Santiago - voice and violín

Part 1: Nuevomexicano "Spanish Colonial" Dance Music

Lorenzo Martínez (violín) and Larry Martínez (guitar) 1. El Redondo Largo (redondo) / The loveliest and most stately waltz tunes are used for the Redondo and some become identified with the dance. For the A section of the melody, couples hold hands and dance in a circle, doing waltz steps that turn it slowly. In the B section, dancers break off as couples and dance away. Then part A repeats, the circle reforms, and so on. Everyone understands the symbolism of the circle forming, breaking, and coming together again. The circle is a universal sign of unity and the eternal, since it has no beginning or end. When it comes together, people focus on community, then they focus on their partner. Another more complex variation of the round dance is the Valse de la cadena (Chain Waltz), that puts dancers who are not couples, face to face. 2. El Pasiadito (chotis) The Schottisch is named for Scotland, and is danced there, although it apparently originated in Bohemia. The side steps and back kick remind some of Scottish highland reels, but who knows for sure? In any case, it is a lively couples dance that features with a four step turn that can even become a hop. It became an international craze of Victorian times, popular among all social classes, as with the waltzes and polkas. When it arrived in Mexico around 1850, it was nicknamed Chotiz, with variations in spelling, just as in Spain. It became a staple in dance numbers in the Spanish Zarzuela or light opera tradition, popular in Mexico. In the northern states of Mexico and border states it was especially popular, as it evolved from a ballroom dance to a rustic dance for all. "El pasiadito" is a gentle and humorous nickname for a slightly tipsy male dancer. With its stately kicks and hops, a tipsy chotís is bound to raise some smiles.

3. Mi Pecosita (polka) Polkas originated as energetic peasant dances in Poland and with ethnic Poles northern Hungary in in the early nineteenth century. Before long they became a fad in all Europe and came to the all of the Americas after 1850. There is an almost devotional cult to the polka in New Mexico. It runs in families across generations, and there are many family based polka bands around. Polkas are popular in ranching communities from the valleys and plains of New Mexico, north to Colorado and Wyoming, and south to the mountains and deserts of Chihuahua. The word "Polca" means Polish maiden or woman, of course, and many are dedicated to women, whether they be daughters, sisters, girlfriends, mothers, or grandmothers. Note: Spanish does not have the letter "k" but we borrow it from English for special occasions! Besides women, polkas are often names after places. This one is named after the village of Pecos and its lovely women, las pecositas, but carries another meaning. Pecas are freckles, and pecosita also means "little freckle face," an endearing nickname. 4. Jesusita en Chihuahua (polka) This lively polka has a full set of lyrics, which are only rarely sung, since people are usually dancing to it. Polkas are most popular in the northern borderlands, and this one is practically the theme song of north central Mexico. ¡Que viva Chihuahua!

Part 2: Mariachi in New Mexico Mariachi was born during the French Intervention in Mexico in the 1860, when military brass bands became a popular sensation. The trumpet took the lead, transforming the traditional string ensembles of central Mexico into Mariachi. Lorenzo Martínez (violín), Larry Martínez (vihuela), José Carrillo (voice and guitarrón) Miguel Ojeda (voice and trompeta), Joseph Santiago (voice and violín) 1. Tampico Hermoso (polka) Situated on the beautiful Gulf of Mexico, Tampico is the thriving capital of the Mexican

state of Tamaulipas and the center of Mexico's oil boom. It was a sleepy, picturesque town until

the first oil strikes brought untold wealth into the nation.

2. El Son de la Negra (son jaliciense) The son is an exemplary blend of African, Spanish, and Indian elements, the same peoples who came together to become Mexico. Some old racial caste terms like negro (black) and chino (curly haired) became terms of endearment after independence from Spain. La negra is best translated as "sweetie," no matter what her complexion is. In Mariachi tradition, this flirtatious son is performed in every single set, making it the most identifiable Mariachi song of all.

© John Donald Robb Collection, Center for Southwest Research, University of New Mexico Libraries

Son de la negra -tradicional Negrita de mis pesares, ojos de papel volando. Negrita de mis pesares, Ojos de papel volando. A todos diles que -sí, pero no les digas cuando, así me dijiste a mí por eso vivo penando . ¿Cuándo me traes a mi negra? que la quiero ver aquí, con su rebozo de seda que le traje de Tepic. ¿Cuándo me traes a mi negra? que la quiero ver aquí, con su rebozo de seda que le traje de Tepic.

Song of the Dark Girl -traditional Sweet dark girl of my sorrows, eyes like confetti flying. Sweet dark girl of my sorrows, eyes like confetti flying. Go tell them all "yes," but don't tell them when, the way you told me, which is why I suffer so. When will you bring me my dark girl? for I want to see her here, with her silk shawl that I brought her from Tepic. When will you bring me my dark girl? for I want to see her here, with her silk shawl that I brought her from Tepic.

3. Volver volver (ranchera lenta) Música ranchera (ranch music), is Mexico's "country music," commercially produced by an army of performers. Written by Fernando Z. Maldonado and popularized by the legendary Vicente Fernández in the 1970s, this nostalgic and passionate love song is probably Mexico's best known and loved ranchera song. Be sure to sing along, especially in the chorus.

© John Donald Robb Collection, Center for Southwest Research, University of New Mexico Libraries

Volver, volver, volver -Vicente Fernández Este amor apasionado anda todo alborotado por volver... Voy camino a la locura y aunque todo me tortura, sé querer... Nos dejamos hace tiempo, pero ya llegó el momento de perder... Tú tenías mucha razón y hago caso al corazón y me muero por volver... Y volver, volver, volver, a tus brazos otra vez. Llegaré hasta donde estés, yo sé perder, yo sé perder, quiero volver, volver, volver...

Return, Return, Return -Vicente Fernández This impassioned love is all elated to return... I'm on the road to madness, and though everything tortures me, I know how to love... We parted some time ago, but the moment has come to lose... You had every reason, and I listen to my heart, and I'm dying to return. And return, return, return, to your arms once again. I will go to wherever you are, I know how to lose, I know how to lose, I want to return, return, return...

4. La Bikina (joropo instrumental) Some call this famous song, the Mariachi version of the Brazilian bossa nova "Girl from Ipanema," since both are paeans to female beauty on full and stately display at the beach. The joropo rhythm from the plains of Colombia and Venezuela is very similar to the fandango. Bikina is a nickname for a woman in a bikini style swimsuit.

5. El Dos Negro (pasodoble) The pasodoble (double step or double time) originated as a fast military marching song that became popular at the Corrida de toros, the Spanish and Mexican bullfights, as well as the performances of Moros y cristianos (the Christians and Moors pageants). It is also an internationally popular social two-step dance.

La Bikina Rubén Fuentes Solitaria, camina la bikina y la gente se pone a murmurar. Dicen que tiene una pena, dicen que tiene una pena, que la hace llorar. Altanera, preciosa y orgullosa, no permite la quieran consolar. Pasa luciendo su real majestad, pasa, camina y nos mira sin vernos jamás. La Bikina, tiene pena y dolor, la Bikina, no conoce el amor. Altanera, preciosa y orgullosa, no permite la quieran consolar. Dicen que alguien ya vino y se fue, dicen que pasa las noches llorando por él. La Bikina, tiene pena y dolor la Bikina, no conoce el amor…

Bikini Girl Rubén Fuentes The bikini girl walks alone and the people start commenting. They say she has a sorrow, they say she has a sorrow, that makes her dry. Haughty, precious, and proud, she doesn't let them console her. She goes by showing her real majesty, she passes, and looks at us without seeing. The bikini girl has sorrow and pain, the bikini girl knows not love. Haughty, precious, and proud, she doesn't let them console her. They say that someone came and left, they say that she cries for him at night. The bikini girl has sorrow and pain, the bikini girl knows not love.