“Lose yourself in musicand you will find beauty.”

Natividad Cano

Title of Work:Malagueña Salerosa

Creators:Producer: Mariachi Los Camperos de Nati CanoMusical Director: Natividad Cano b. 1933

Background Information:It is no surprise that Natividad (Nati) Cano chose music

as a career. Born in Ahuisculco, Jalisco, Mexico, he grew

up in a family of jornaleros (day workers) who considered

music a necessity, a means for earning additional money,

as well as a joyous outlet from working the soil. His

grandfather played the guitarron, the bass instrument of

mariachi ensembles. His father, a versatile musician,

played all of the instruments of the mariachi, except the

trumpet. Cano began to play the vihuela at the age of six,

and at age eight he began six years of violin lessons at the

Academia de Musica in Guadalajara. Gradually, Cano’s

musical experiences, technical skills and knowledge broad-

ened as he played locally with his father, with the

Academia Chamber Orchestra, and later with two

professional mariachi groups. As the youngest member

of Mariachi Chapala in Mexicali, Cano was selected to

be the group’s arranger. He later joined the Tijuana-

based Mariachi Aguila, and after becoming its musical

director, changed the name to Los Camperos. In 1969

the group became permanently based in Los Angeles

where it established a reputation for offering the best in

mariachi music. In recognition of his outstanding musicianship,

Cano received a National Heritage fellowship from the

National Endowment for the Arts in 1990. Notable

among their recordings are two which were made with

Linda Ronstadt, Canciones de Me Padre and Mas Canciones.

Los Angeles

Jalisco

U.S.A.

Gulf of

Mexico

MEXICO

About the Artwork:Malagueña Salerosa is a standard selection in the

mariachi repertoire and is an example of the

Mexican ‘singing style’ which was influenced by

19th century Italian opera, and grew in popularity

in Mexico during the same period. The vocal soloist

in Malagueña is expected to demonstrate the ability

to sustain a beautiful high pitch in segments of the

verse and refrain. Audiences reward the successful

soloist with applause and ‘gritos.’ The song also

illustrates two distinctive characteristics often found

in mariachi music, changing and simultaneous

meters. Sometimes the meter alternates between 6/8

and 3/4 (sesquialtera), at other times the two meters

occur simultaneously (ritmo colonial).

Creative Process of the Artist or Culture:Traditionally, musicians of the mariachi memorize

their repertoire, often strolling among patrons as

they play. They respond to requests which range

from the traditional sones to caciones rancheras

(country), musica Tejana (Texas-Mexican), musica

huasteca (north-eastern regional) and musica jarocha

(Veracruz). Los Camperos performs compositions

from different regions, however, Cano’s arrangements

adhere to the mariachi

instrumentation (violins, guitars,

vihuelas, trumpets, harp and

guitarron), while retaining the

spirit of its various origins.

MUSIC

TRANSFORMATIONTHE POWER OF NATURE

FREEDOM &OPPRESSION

ENDURING VALUES

THE HUMANFAMILY

ARTISTIC PERCEPTION (AP)

CREATIVE EXPRESSION (CE)

HISTORICAL & CULTURAL CONTEXT (H/C)

AESTHETIC VALUING (AV)

CONNECT, RELATE & APPLY (CRA)

rtsource ®

The Music Center’s Study Guide to the Performing Arts

A TRADITIONAL

CLASSICAL

CONTEMPORARY

EXPERIMENTAL

MULTI-MEDIA

*

*

*

* Indicates sample lessons 2

Sample Experiences:Level I• Learn Mexican folk songs which are sung on special

occasions, such as Las Mañanitas (a morning greeting)

and Mañanitas Tapatia (a birthday greeting). Sing the

songs in Spanish and English on appropriate occasions.

• Learn Mexican game songs which are played in

much the same manner as game songs from other

countries. Examples: Al Citron and Find the Ring; La

Vibora de la Mar and London Bridge.

• Put on the music and let students discover ways to

dance to it.

Level II• Two similar holidays, Día de los Muertos and

Halloween, both occur in the autumn. Compare and

contrast the two observances. Learn a song suitable for

both celebrations. Create movement to illuminate the

lyrics and illustrate the form.

• Play Malagueña Salerosa and listen for techniques of

playing the violin, i.e. arco (bowing) and pizzicato

(plucking). If possible, invite musicians to present

demonstrations.

• Select several standard mariachi selections and listen

for the various playing techniques employed. Discuss

how these techniques contribute to the unique sound

of mariachi music.

Level III• Practice these rhythms: a three-beat rhythm with an

accent on the first beat; a six-beat rhythm with accents

on the first and fourth beats; and a six-beat rhythm

with accents on the first, third and fifth beats. Perform

the first two rhythms simultaneously and the first and

third rhythms alternately. Discuss, then listen for these

examples in Malagueña Salerosa. Listen to an

orchestral composition which incorporates these

different Mexican folk melodies and rhythms.

Example: El Salón México (Copland).

• Divide the class into groups and ask each to study a

different style of Mexican music. Provide recorded

examples for study and presentation. Encourage them

to plan unique ways to present their work.

Discussion Questions: After listening to the audio recording:

• There are various string instruments featured in

Malagueña Salerosa. Which string instrument

sounds did you recognize?

• What did you hear in the vocal solo that

demonstrates its 19th century Italian opera roots?

(sustained high-pitch, and resemblance to ‘recitative’

in the verse)

• In most instrumental groups specific instruments

constitute the rhythm section. Which instruments

in the mariachi ensemble usually provide the basic

rhythm? (guitarron, vihuela, and sometimes the harp)

• Early mariachi ensembles were string ensembles.

In the early thirties, when mariachi radio broadcasts

emerged, groups began to add trumpets. Why do

you suppose this instrument was added?

Multidisciplinary Options:• In Mexico, as in other countries, different types of

music developed in the various states and regions

within the country. Read to discover the historical,

geographical and cultural/ethnic origins of the

following kinds of music: musica huasteca, musica

Tejana (or conjunto), musica jarocha and musica

mariachi.

• Mexico’s proximity to the United States has had a

cultural impact on the southwestern states, in

particular (Arizona, California, New Mexico and

Texas). Give examples of this cultural overlap as seen

in food, clothing, sports, celebrations, architecture,

names (streets, cities, parks, etc.) and the arts.

Audio-Visual Materials:• Artsource® audio recording: Malagueña Salerosa,

courtesy of Mariachi Los Camperos de Nati Cano, 1992.

Additional References:• Recordings: Mas Canciones (1991), Linda

Ronstadt. Electra Entertainment; El Super

Mariachi, Mariachi Los Camperos de Nati Cano.

Latin International, 1968.

LEVEL I Sample Lesson

INTRODUCTION:

Music is a central point of celebration for many cultures.One of the most popular occasions for celebration is a birthday.In the American culture people sing the Happy Birthdaysong on each person’s special day. In the Mexican culture,people sing a Mariachi song entitled Las Mañanitas.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Sing a traditional Mexican song entitled Las Mañianitas.(Historical and Cultural Context)

• Identify the 3/4 meter and clap and sing the song. (Artistic Perception)

• Gain a greater appreciation for the traditions of the Mexican culture.(Historical and Cultural Context)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® audio recording of Malagueña Salerosa and Las Mañanitas.

PROGRESSION:

• Give some background information on Mariachi music and the instruments used.

• Listen to the recording of Malagueña Salerosa and identify the instruments being used (trumpet, violin,guitar, etc.).

• Listen to the recording again and clap on the beat.

• Ask the students to give their impressions:

• What do you think the musicians are communicating through their music? • How does the music make you feel?

Mariachi Los Camperos de Nati CanoPhoto: courtesy of Natividad Cano

3

THE HUMAN FAMILYLAS MAÑANITAS (Birthday Song)

MUSIC

• Give some background on Las Mañanitas and explain that it is also played in the style of Mariachi music.Play the Artsource® audio cassette recording and see if they can recognize what is the same about both pieces.

• Read the lyrics to Las Mañanitas in both Spanish and English.

• Learn the song. Las Mañanitas (Birthday Song)

Esta son las mañanitasQue cantaba el rey DavidA las muchachas bonitas

Se las cantamos aqui

Despierta mi bien, despierta, Mira que ya amanecioYa los pajarillos cantan

La luna ya se metio

Que linda esta la mañana En que vengo a saludarteVenimos todos con gusto

Y placer a felicitarte

(Chorus)El día a que tu naciste

Nacieron todas las floresY en la pila de bautismo Cantaron los ruiseñores

Ya viene amaneciendoYa la luz del día nos vioLevantate de mañana Mira que ya amanecio

(Verse)Quisiera ser un San JuanQuisiera ser un San Pedro

Pa venir a saludarte Con la musica del cielo

De las estrellas del cieloQuisiera bajarte dos,Una para saludarte

Y otra para decir adios

(Chorus)Ya viene amaneciendo

Ya la luz del día nos dioLevantate de mañana Mira que ya amanecio

4

The translation is notintended to be an Englishversion of the song buta poetic representation.It does not rhythmicallymatch the melody – thesong should be sung inSpanish only.

5

Las Mañanitas(Birthday Song)

English Translation- Ed Barguiarena and Susan Friel

These are Las MañanitasAs sung by David the King

To the beautiful young ladies;Now I come to you, to sing.

Awake, my good one, awake,Wake up and meet the day.

The morning birds are singing;The moon has gone away

How beautiful is this morning In which I come to greet you.

My heart is filled with happiness And pleasure to meet you.

The day that you were born The flowers were born too;

The Nightingales were singing In the baptismal morning dew.

(Chorus)The Sun is now upon us,

Its rays are breaking through;Wake up, this special morning,

This day is for you.

I wish I were a SaintLike Saint Peter or Saint John;

Coming from grace to greet youTo sing this heavenly song.

From the stars up in the heavensI’d like to bring down two:One brings you a greeting,

The other bids adieu.

(Chorus)The Sun is now upon us,

Its rays are breaking through;Wake up, this special morning,

This day is for you.

6

• Learn a three beat meter (3/4). Place the first count on your lap or a desk, and clap the remaining twocounts. Be sure you can repeat it.

Example:

desk clap clap

• Use the extension questions below to extend the experience for your students.

EXTENSIONS:

• Think of other clapping combinations that you can use with this song.

e.g. 1. clap-desk-clap 2. desk-clap-clap 3. (with a partner clap own legs-clapown hands-clap partners hands)

• Learn the names of the traditional Mariachi instruments in Spanish

trumpet trompetaviolin violin (vio-lean)guitar guitarrabass guitarron

• Listen to Malagueña Salerosa or another Mariachi recording and make a drawing inspired by the moodof the music. (Drawings can include instruments, words, colors, abstract shapes and lines, etc.)

VOCABULARY: rhythm, lyric, culture, instrument, meter

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe what makes a birthday so special.

DISCUSS: Discuss things in nature that are ‘reborn’ (recreated) everyday. (sun, moon, stars, flowers, etc.)

ANALYZE: Analyze the differences and similarities between Las Mañanitas and Happy Birthday.

CONNECT: What are some of the special things your family does to celebrate a birthday?

7

8

9

THE HUMAN FAMILYCELEBRATE RHYTHM

LEVEL II Sample Lesson

INTRODUCTION:

Rhythm is an important aspect of Mariachi music. It is the most fundamental element of any music, evenmore fundamental than melody. Rhythm is a key element in establishing the style or flavor of any music.Many cultures have traditional rhythms that have been in use for a long time. Often these rhythms arenamed after a dance (Tango, Mambo, Rhumba, Jig, Waltz, etc.) There is a big difference between arhythm and a beat. A beat is a primary pulse in music (the part that you dance to), and a rhythm is howa beat gets divided (what the instruments play). A beat is implied in the music, while rhythms are literal.Rhythm is the most defining quality of any musical style.

No Rhythm -- No Music. Wynton Marsalis

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Identify and clap the pulse in a Mariachi song.

• Clap and count the meter of a Mariachi song.

• Clap simple rhythmic patterns in 3/4 time.

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® audio recording of Malagueña Salerosa or another Mariachi CD of your choice. (See additional references of recordings.)

PROGRESSION:

• Give some background information on Mariachi music and the instruments used. (See page 17)

• Give some background information on Malagueña Salerosa (See the Unit page)

• Listen to the recording of Malagueña Salerosa and clap to the beat.

• Review and use some of the ‘Discussion questions’ on page 2.

• Listen to the recording of Malagueña Salerosa and walk to the beat. As students are walking to the beathave them clap to the beat so that hands and feet are in unison.

MUSIC

10

• Without the music, walk and clap at the same time and count to three continuously. Explain that thesegroupings of three are the fundamental rhythmic foundation of Mariachi music and are called measures.(Three beats equal one measure in 3/4 time.)

• Have the students alternate between walking and clapping (4 measures - 12 counts) and only walking (4 measures - 12 counts).

• Explain that when they are not clapping, what they are doing is called a rest, which is a counted rhythm.When you are resting you still have to silently feel the beat and rhythm of the music.

• Have your students learn and practice the following rhythmic patterns. Make sure they can repeat eachpattern several times.

• Divide the class into three groups and assign each group a rhythmic pattern. Have each group play theirpattern four times without a pause in the rhythm.

• Once each group has learned to play their pattern four times, put all the groups together and have themplay in sequence. Group one (4 times), group two (4 times), group three (4 times), all without a breakin the rhythm.

• Have all the patterns play at the same time.

• Change the length of the patterns, 4, 5, 8, 12 or 16 times.

• Change the volume of all the groups or an individual group.

• Play the music again and have the students clap their rhythmic patterns with the music. Use all of thecombinations you practiced earlier. As you get more familiar with the music you can have the entire groupor individual groups find places to start and stop their rhythmic pattern. This will make it more challenging and interesting.

EXTENSIONS:

• Explore other music in 3/4 time. (Viennese waltzes, music of Huasteca, Irish folk music)

• Try the following example of walking and clapping.

Example:

VOCABULARY: rhythm, pulse, measure, beat, meter, rest

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the difference between a rhythm and a rest.

DISCUSS: Discuss the experience of playing the rhythmic patterns in individual groups and as a largegroup with three rhythmic patterns being played at the same time.

ANALYZE: Analyze the differences and similarities between playing the rhythmic patterns in class andhow the instruments interact in a Mariachi band. (Do the instruments play all the time?)

CONNECT: What other types of rhythmic patterns occur in the world around us? Do people have individual rhythms in the way they walk, talk, learn, play, etc.? What kind of rhythms are found innature? (seasons, life cycles, migrations, etc.)

11

LEVEL III Sample Lesson(4th grade and above)

INTRODUCTION:

American composer Aaron Copland visited the famous Salón Mexico in Mexico City, where he heard several different instrumental groups perform traditional Mexican music. The music he heard inspiredhim to write the composition El Salón México. It was premiered in Mexico City on August 27th, 1937,conducted by Mexico’s distinguished composer-conductor, Carlos Chavez.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Recognize the themes and rhythms in an orchestral composition as basedon traditional Mexican music. (Artistic Perception and Historical andCultural Context)

• Perform traditional rhythms found in Mariachi music. (Artistic Perception and Historical and Cultural Context)

• Demonstrate a greater appreciation for the complexity of Mariachi music. (Historical and Cultural Context)

• Discuss how different cultures borrow musical styles from one another. (Historical and Cultural Context)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Recording: Copland’ Greatest Hits, El Salón México (Copland). New York Philharmonic, LeonardBernstein. CBS Masterworks, MS 7521, 1984, or Twentieth Century America, El Salón México”(Copland). Bowmar Orchestral Library, BOL 74, 1967.

• Copies of the “Rhythm Patterns” and “Listening Guides.” (See the copy-ready forms at the end of this lesson.)

• Woodblock or toneblock.

PROGRESSION: (This lesson may require two sessions.)

• Part IUsing the woodblock or toneblock, tap Rhythm Pattern #1, then have the class tap with you, using pencils on desks. Call attention to the accented first beat.

12

TRANSFORMATIONMEMORIES OF MEXICO

MUSIC

Rhythm Pattern #1

Tap

• Clap Rhythm Pattern #2, then ask the students to clap the pattern with you, emphasizing the accentedbeats.

Rhythm Pattern #2

Clap

• Explain that in the music of Mexico and other Latin American countries, these two patterns often occursimultaneously. This technique is called ‘ritmo colonial.’ It can be heard in the song Malagueña Salerosa.

• Divide the class into two groups and assign each a different rhythm pattern. Have the students tap andclap the rhythms simultaneously. Start group #1, and when the rhythm is assured, start group #2 when#1 begins a new measure.

Example A: (ritmo colonial)

Tap

Clap

• Discuss the effect of performing the two rhythms simultaneously.

• Teach Rhythm Pattern #3. Call attention to the different accented beats.

Rhythm Pattern #3

Clap

• Review Pattern #1. Have the students play Patterns #1 and #3, alternating from one to the other, measure by measure, as indicated in Example B (below). This technique is called ‘sesquialtera.’ It produces a pattern that is heard quite often in the dance music of many Latin American countries. Callattention to the double meter signature.

Example B: (sesquialtera)

Clap

13

14

• Ask the students to compare Pattern #1 with Pattern #4. Ask them to find the one difference. (Thefirst quarter note has been changed to two eighth notes.)

#1

#4

• Play Pattern #4 alternately with Pattern #3. Explain that this is a slight variation of the pattern in Example B.

Example C: (sesquialtera)

Clap

Part II• Review Examples B and C, the sesquialtera (alternating) rhythms.

• Explain that an American composer, Aaron Copland, created a composition which became famous forcapturing the spirit of Mexico with his use of the rhythms and folk melodies of that country. (See theIntroduction to this lesson.) The title of the piece is El Salón México. Explain that it is the first of several compositions Copland wrote which incorporate the folk rhythms of a country or culture. (See theArtsource® Dance Unit, Eugene Loring.)

• Tell the students that the sesquialtera rhythm they learned is featured in El Salón México. Ask them tolisten for this rhythm in the introduction. Play the recording for approximately 25 seconds. Have thestudents signal when they hear the rhythm pattern. (Use your own method for having the students signal.) Play it again to be sure everyone has an opportunity to hear the pattern.

• Explain that Copland used several popular Mexican dance rhythms in El Salón México. In addition, healso incorporated three folk melodies that he heard (La Jesuscita, El mosco and El palo verde).

• In preparation for listening to the entire composition, distribute the Listening Guides for El SalónMéxico. Ask the students to follow and complete as many items as possible as they listen.

• Have the students discuss their responses. Provide the answers when necessary, so that the students maycomplete the Listening Guide. If time permits, play El Salón México again as the students follow theirguides, or have them do so during the next session.

15

EXTENSIONS:

• Listen for the sesquialtera rhythm in Leonard Bernstein’s America from West Side Story. The entire composition is based on this rhythm.

VOCABULARY: accented beats, alternating rhythm, ritmo colonial rhythm, sesquialtera rhythm

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the difference between traditional folk music and a piece of music that borrowsideas from folk music.

DISCUSS: Discuss the experience of playing rhythmic patterns that have a compound time signature(meter). (This would be one measure of 6/8 followed by a measure of 3/4.)

ANALYZE: Analyze the differences and similarities between music performed by an orchestra and a traditional folk ensemble. (An orchestra always reads music while they play. Folk musicians are oftengiven the liberty to improvise and alter the music they play. What instruments do they have in common?Why?)

CONNECT: What cultural practices or philosophies (traditional or modern) do you use in your own life?

Aaron Copland (1900-1991)The most celebrated American classical

composer of the 20th centuryPhoto: Victor Kraft

Huichol musician from Santa Catarina, Jalisco

Artist: Luis Covarrubias

16

LOS CAMPEROS DE NATI CANO

LISTENING GUIDEEL SALÓN MÉXICO AARON COPLAND_________________________________________________________________________________Review the questions before listening to the recording.Please mark your answers with an X.

1. Name the instrument which plays a solo on the first folk theme.

___piccolo ___trumpet ___cello

2. Is the first theme primarily a chord patterns or a scale pattern?

___scale ___chord

3. Is the rhythm in the second theme even or uneven?

___uneven ___even

4. Name the instruments which introduce the third theme.

___violins ___flutes ___bassoon

5. The third folk theme is based upon the . . .

___ritmo colonial rhythm ___sesquialtera rhythm

6. The second folk theme is repeated by the . . .

___violins ___flutes ___French horns

7. After the violins re-play the second folk theme thedynamics become . . . ___louder ___softer, and thetempo becomes . . . ___slower ___faster

8. Listen to the remainder of the composition and be prepared to discuss the composer’s use of repetitionand variety. (repetition - themes and rhythm patterns, variety - dynamics, tempo, rhythms, tone color andmood)

9. The introduction and coda feature which of the two rhythms?

___ritmo colonial ___sesquialtera

17

THE ORIGINS OF THE TERM “MARIACHI”

The word mariachi is a term that can be used to describe the individual musician, the ensemble or the musicalgenre itself. A definitive origin has never been established. Perhaps the most common misconception is that theterm is derived from the French word for marriage (mariage). The theory is that these unnamed ensembles wereoften hired by the French court in Mexico during the Maximilian epoch (1861-1867) to play at fiestas and weddings. Soon the Mexicans began calling these groups of strolling musicians mariachis. There are many theories which verify that the term predates the French occupation. Many Mexican scholars assure us that groupscalled mariachi were already in existence by 1830.

A letter written by a cleric in 1952 makes reference to the diversions created by musical groups called mariachis. In1840 a gentleman named Placido Rebolledo organized a musical group that he called mariachi in Tecalitlan. Thisgroup later became Mariachi Vargas de Tecalitlan in 1898 and is still in existence.

Scholarly investigations also support possible indigenous roots. Evidence substantiates the existence of an Indianmariachi that used a single-head skin drum. One investigation suggests that the term derives from the yutonahuatllanguage group signifying a hard floor or dance area called a mariache or tarima. Another hypothesis suggests that the term comes from celebrations honoring the Virgin known as Maria H - Maria Hache - that evolved intomariachi. Finally, many older rural mariachi musicians in the states of Jalisco and Colima, assumed that the namesomehow derived from the woman's name Maria.

THE INSTRUMENTS OF THE MARIACHI

The mariachi originated in the rural areas of Western Mexico particularly from the statesof Jalisco, Colima, Michoacan, Nayarit and Sinaloa. The original groups were string-basedensembles, therefore the term “mariachi band” is inappropriate since bands, by definition,emphasize instruments of the brass and woodwind families. The mariachi instrumentationconsisted primarily of violins and the diatonic harp. The harp provided rhythmic and harmonic support. The violins provided melodic lines.

A small, generally five-string, flat-back guitar - known as the quinta or guitarra de golpe - supported the rhythm. In the area around Cocula, where for reasons not completely understood, a rounded-back set of instruments developed. The five string vihuela, a rounded-back instrument, along with the more recent addition of the guitar,provide the harmonic rhythm essential for the musical sound of every mariachi.

The guitarron, a large rounded-back instrument, provided the bass line. The original guitarron used four or fivegut strings and eventually the instrument became standardized with six nylon strings that allowed for doubling thebass line for greater volume. For reasons of portability and key restrictions the guitarron eventually replaced theharp in most ensembles.

In the early 1930s the ensembles added a trumpet when they began to think in terms of arrangements and commercial possibilities. The rationale was that their addition would provide a better sound for radio broadcast.Throughout the years, mariachis have become standardized with two trumpets, although it is not uncommon tofind three or more in today's groups.

Contemporary mariachis use highly professional arrangements, trained musicians and a refined sense of showmanship.It is a musical form that continues to evolve.

Articles by José Delgado.

18

ADDITIONAL RESOURCES

POPULAR MARIACHI SONGS

JaliscoYo Soy MexicanoOjos Tapatillos

ADDITIONAL INSTRUMENTS USED IN OTHER REGIONAL MUSIC OF MEXICO

Vera Cruz Huasteca NortenaGuitarra de Golpe Huapanguera ContrabajoArpa Violin AccordionHuapanguera

ADDITIONAL RECORDINGS:

Viva el Mariachi!Nati Cano’s Mariachi Los CamperosSmithsonian Folkways, 2002.

La Mas Completa ColeccionMariachi Vargas De TecalitlanUniversal Music Mexicao, 2005.

WEB SITES

International Folk Culture Center at San Antoniowww. n-link.com/ifccsa/index.htm

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