Mexican+popular+music

=From Revueltas to popular music =

Silvestre Revueltas: Sensemayá Revueltas: (1899-1940): music inspired by popular and traditional music Studied in Mexico, Austin and Chicago, worked in US. Director of Mexico Symphony Orchestra 1929-35 In Spain during Spanish Civil War. Rhythm: used hemiola: "In modern [|musical] parlance, a **hemiola** is a metrical pattern in which two [|bars] in simple triple [|time] (3/2 or 3/4 for example) are articulated as if they were three bars in simple duple time (2/2 or 2/4). The word //hemiola// derives from the Greek //hemiolios//, meaning "one and a half". (The term hemiola or "one and a half" was also used by the Greeks to refer to a galley powered by one and a half banks of oars.) It was originally used in music to refer to the [|frequency] ratio 3:2; that is, the [|interval] of a [|justly tuned] [|perfect fifth]. Later, from around the [|15th century], the word came to mean the use of three [|breves] in a bar when the prevailing metrical scheme had two dotted breves in each bar.[|[1]] This usage was later extended to its modern sense of two bars in simple triple time articulated or phrased as if they were three bars in simple duple time. (The pulse stays constant, and the duration of the beat changes.) An example can be found in measures 64 and 65 of this excerpt from the first movement of [|Wolfgang Amadeus Mozart]'s //[|Piano Sonata, K. 332]//: The effect can clearly be seen in the bottom staff, played by the left hand: the accented beats are those with two notes; hearing this passage one gets a sensation of "1 2 3, 1 2 3, 1 2, 1 2, 1 2". " www.en.wikipedia.org/hemiola

**Sensemayá:** performed by Venezuelan Youth Orchestra directed by Gustavo Dudamel media type="custom" key="2501667" Biography (in Spanish): media type="custom" key="2501735" "Sensemayá" is an Afro-Caribbean poem written by Nicolás Guillén. Revueltas set it to music in 1937-38, inspired by the onomatopoeic (and jitanjáfora) sounds, and the rhythm of the poem. The poem itself is based on 2 Afro-Cuban religious groups. The poem:    Mayombe-bombe-mayombé! Mayombe-bombe-mayombé! Mayombe-bombe-mayombé!

The snake has eyes of glass;, The snake coils on a stick;, With his eyes of glass on a stick, With his eyes of glass.

The snake can move without feet; The snake can hide in the grass; Crawling he hides in the grass, Moving without feet.

Mayombe-bombe-mayombe.! Mayombe-bombe-mayombe.! Mayombe-bombe-mayombe.!

Hit him with an ax and he dies; Hit him! Go on, hit him! Don’t hit him with your foot or he’ll bite;, Don’t hit him with your foot, or he’ll get away.

Sensemayá, the snake, sensemayá. Sensemayá, with his eyes, sensemayá.

Sensemayá, with his tongue, sensemayá. Sensemayá, with his mouth, sensemayá.

The dead snake cannot eat; the dead snake cannot hiss; he cannot move, he cannot run!

The dead snake cannot look;, the dead snake cannot drink,; he cannot breathe, he cannot bite.

¡Mayombe-bombe-mayombé! Sensemayá, the snake. . . ¡Mayombe-bombe-mayombé! Sensemayá, does not move. . . ¡Mayombe-bombe-mayombé!

Sensemayá, the snake. . . ¡Mayombe-bombe-mayombé! Sensemayá, he died! Other groups have also set Sensemayá to music: The Chilean Nueva Canción group, Inti Illimani: media type="custom" key="2502331"

Mariachi:
 * Traditional and popular music:

**Mexican, dates from 1905/Porfiriato, popularized in US with recorded phonograph music. Included in first Mexican sound movie, //Santa// (1931). Instruments (as of 50s): 2 trumpets, voice, 3 violins, guitarrón, vihuela, guitar, sometimes a harp.
 * guitarrón: bass "guitar," w/6 strings.
 * vihuela: 5-stringed "guitar" with reentrant tuning (reentrant = not tuned from lowest to highest. In this instrument: first 4 are tuned like a guitar, but 4th and 5th an octave higher.)

Genres of mariachi music:  > >  Forms of mariachi music: Use: as national symbol, at all ceremonial and commercial events, and for serenadas.
 * son: regional music. In Mexico: sesquialera rhythm: alternating or simultandous use of 3/4 and 6/8 timing. Frequently strophic, alternating vocal and instrumental sections.
 * canción ranchera: USAD: "simple yet emotional"
 * <span style="font-size: 120%; color: rgb(28, 125, 77)"><span style="font-size: 80%; color: rgb(9, 7, 7)">bolero rancero: Rhythm: one-rest-three-four
 * <span style="font-size: 120%; color: rgb(28, 125, 77)"><span style="font-size: 80%; color: rgb(9, 7, 7)">polca:
 * 2 poetic forms: copla (stanza of 4 octo-lines, rhyme in odd numbers) and seguidilla (stanza w/7/11)

El Topo Gigo sings Las Mañanitas, in mariachi style: media type="custom" key="2522271" Mariachi Mencey Azteca: Las Mañanitas (Tenderete - Año Nuevo) media type="custom" key="2522435"

<span style="font-size: 120%; color: rgb(22, 116, 43)">Corrido: Simple melody with coplas that tell a story. (Succesor to romance in Spain). <span style="font-size: 120%; color: rgb(28, 125, 77)"><span style="font-size: 80%; color: rgb(9, 7, 7)">Opening copla and closing copla; usually duple, sometimes triple. Corrido moderno: Las mujeres de Juárez media type="custom" key="2522685" <span style="font-size: 120%; color: rgb(25, 93, 39)">Norteño: Dance-oriented music, hybrid of Eurpean accordion and polka rhythms with Mexican bajo sesto (12-string bass guitar); corrido genre. Instruments: button accordion, bajo sexto plus bass guitar, drum and voice. Sometimes sax and keyboard. First: rural, became urban. 50s. Disseminated by radio. Meter: tripe. Temp: steady and quick. Groups: Los Bravos del Norte; Los Tigres del Norte.

Los Bravos del Norte: Chaparra de mi amor media type="custom" key="2523207"

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