| Ranchera | |
|---|---|
| Stylistic origins | Mariachi |
| Cultural origins |  México |
| Typical instruments | Guitar, Vihuela, Trumpet, Violin, Guitarrón |
| Mainstream popularity | 1930–present |
| Subgenres | |
| Huapango, bolero ranchero, corrido | |
| Other topics | |
| Charro - Jarabe tapatío (also the name of a song) - Zapateado - Son Huasteco - Huapango - Mexican pop | |
The ranchera is a genre of the traditional music of Mexico. Although closely associated with the mariachi groups which evolved in Jalisco in the post-revolutionary period, rancheras are also played today by norteño (or Conjunto) or banda (or Duranguense) groups. Drawing on rural traditional folklore, the ranchera was conceived as a symbol of a new national consciousness in reaction to the aristocratic tastes of that era. Perhaps the greatest exponents of the ranchera have been José Alfredo Jiménez, Lola Beltrán, Vicente Fernández, Pedro Infante, Jorge Negrete, and Javier Solís.
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About the ranchera
Traditional rancheras are about love, patriotism or nature. Rhythms can be in 3/4, 2/4 or 4/4, reflecting the tempo of, respectively, the waltz, the polka, and the bolero. Songs are usually in a major key, and consist of an instrumental introduction, verse and refrain, instrumental section repeating the verse, and another verse and refrain, with a tag ending. Instrumentation may include guitars, strings, trumpets, and/or accordions, depending on the type of ensemble being utilised.
The normal musical pattern of rancheras is a/b/a/b. Rancheras usually begin with an instrumental introduction (a). The first lyrical portion then begins (b), with instrumental adornments interrupting the lines in between. The instruments then repeat the theme again, and then the lyrics may either be repeated or begin a new set of words. One also finds the form a/b/a/b/c/b used, in which the intro(a) is played, followed by the verse(b). This form is repeated, and then a refrain(c) is added, ending with the verse.
The most popular ranchera composers include Lucha Reyes, Cuco Sánchez, Antonio Aguilar, and José Alfredo Jiménez, who composed many of the best-known rancheras, with compositions totaling more than 1000 songs, making him one of the most prolific songwriters in the history of western music.
Another closely related style of music is the corrido, which is often played by the same ensembles that regularly play rancheras. The corrido, however, is apt to be an epic story about heroes and villains whereas rancheras may not necessarily be heroic ballads and also vary more in terms of tempo. However, two notable exceptions to this rule are the songs, 'Corrido de Chihuahua' and the 'Corrido de Monterrey', which are considered rancheras in spite of their names. Their lyrics are concerned with patriotism for the states of Chihuahua and Nuevo León, respectively.
The word ranchera was derived from the word rancho because the songs originated on the ranches and in the countryside of rural Mexico. Rancheras that have been adapted by conjuntos, or norteño bands from northern Mexico and the southwestern US, are sometimes called norteños, from the Spanish word for northern.
Some well-known rancheras
- Amanecí en Tus Brazos (I awoke in your arms) by José Alfredo Jiménez, Javier Solís, Luis Miguel, and others.
- Ay Jalisco No Te Rajes (Hey, Jalisco, don't back down),by Jorge Negrete
- Camino de Guanajuato (Road to Guanajuato) by José Alfredo Jiménez and Pedro Fernández
- Carta a Eufemia (Letter to Eufemia) by Pedro Infante
- Cien Años (One hundred years) by Pedro Infante
- Corazón, Corazón (My heart, my heart) by Lola Beltrán and Lucha Villa.
- Corrido de Chihuahua (The Chihuahua corrido) by Lucha Villa, Miguel Aceves Mejía and Antonio Aguilar
- Corrido de Monterrey (The Monterrey corrido) by David Zaizar, Lorenzo Monteclaro and Vicente Fernández
- Cuatro Caminos (Four roads) by José Alfredo Jiménez and Lola Beltrán
- Cu-cu-rru-cu-cú Paloma (Cooing dove) by Lola Beltrán and Rocío Dúrcal.
- De Qué Manera Te Olvido (How can I forget you) by Vicente Fernández
- Echame a Mí la Culpa (Blame me) by José Ángel Espinoza "Ferrusquilla", Javier Solís, Luis Miguel, and others.
- El Crucifijo de Piedra (The stone crucifix) by Miguel Aceves Mejía
- Ella (She) by José Alfredo Jiménez, Pedro Fernández, Vicente Fernández, and others.
- El Pastor (The shepherd) by Miguel Aceves Mejía
- El Rey (The king) by José Alfredo Jiménez, Luis Miguel and Vicente Fernández.
- El Siete Mares (The sailor), by José Alfredo Jiménez
- El Ultimo Adios (The last goodbye), by Paulina Rubio
- La Cruz De Olvido (The cross of forgetfulness), by Juan Zaizar and Alvaro Torres.
- La Puerta Negra (The black door), by Antonio Aguilar
- Media Vuelta, by Javier Solís and Luis Miguel.
- México Lindo y Querido (Lovely and beloved Mexico), by Jorge Negrete, Alejandro Fernández
- Noches Eternas (Eternal nights), by Vicente Fernández
- Pa' Todo el Año (For the whole year), by José Alfredo Jiménez, Pedro Fernández, Vicente Fernández, and others.
- Payaso (Clown), by Javier Solís
- Poco a Poco (Little by little), by Javier Solís
- Por Tu Maldito Amor (For your cursed love), by Vicente Fernández
- Por Una Mujer Casada (For a married woman), by David Zaizar
- Si Nos Dejan (If they let us), by José Alfredo Jiménez, Lola Beltrán, Vikki Carr, Luis Miguel.
- Sombras (Shadows), by Javier Solís
- Un Puño de Tierra (A handful of earth), by Antonio Aguilar
- Volver, Volver (Come back, come back), by Vicente Fernández
Celebrated ranchera singers
- Miguel Aceves Mejía
- Antonio Aguilar
- Pepe Aguilar
- Lola Beltrán
- Rocío Dúrcal
- Alejandro Fernández
- Pedro Fernández
- Vicente Fernández
- Pedro Infante
- José Alfredo Jiménez
- Pablo Montero
- Jorge Negrete
- Lucha Reyes
- Cuco Sánchez
- Javier Solís
- Chavela Vargas
- Lucha Villa
Bibliography
- Brenner, H. (1996). Música ranchera. Das mexikanische Äquivalent zur Country and Western Music aus historischer, musikalischer und kommerzieller Sicht (Música ranchera: El equivalente mexicano de la música country y la música del Oeste) (Musikethnologische Sammelbände 14). Foreword by Thomas Stanford. Tutzing: Verlag Hans Schneider, 1996 [ISBN 3 7952 0867 X].
See also
External links
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