Preparing for a Performance
Sergio “Checo” Alonso teaches at San Fernando High School and for the Mariachi Master Apprentice Program in San Fernando, California.
You’ve spent countless hours rehearsing your students, and now they're ready to play for the public. How do you prepare them for the performance?
As a mariachi educator, you have the special responsibility of preparing your students to perform at the many cultural, celebratory, and religious events in their communities. Some are formal and occur onstage, while others celebrate life events in private homes. Because mariachis play such an important role in these events, your students need special attention to properly prepare for the different situations in which they may be asked to perform.
A successful performance is the result of strong guidance and hard work. Your students will reap the rewards of increased confidence and motivation as you prepare them for the demands of mariachi performance.
REHEARSAL STRATEGIES
1. Set realistic expectations. No one knows the skill levels of your students better than you do. Avoid “biting off more than you can chew” by not overloading students with new music or music that is beyond their technical reach. There are plenty of standard mariachi works that meet the needs of every student, from beginner to advanced. Make your decisions based on the ability levels of most of your students, and plan your song selection accordingly.
2. Prepare the music. After finding skill-level-appropriate music, if you feel that some aspects are not suitable, feel free to make necessary changes to meet the needs of your ensemble. Transposing to a different key for a singer, inverting a trumpet part, bringing a violin melody down an octave, and simplifying harmony in the rhythm section are but a few ways you can modify the music without “watering it down.” Having a strong grasp of the stylistic elements for each genre will assure that any changes you make won’t affect the integrity of the piece.
3. Manage your time. Preparing for a gig entails developing repertoire for a set amount of performance time. Spend less time working on warm-ups, fundamentals, and exercises and more time working on actual songs. Be conscious of how long it usually takes your students to read through a piece and how long they need to memorize their music and lyrics. You will then have a good idea of how much rehearsal will be needed to learn and polish the required number of songs.
4. Set priorities: Quality versus quantity. Ideally, you want to build a polished, carefully selected, and tightly executed collection of songs. You may, however, be forced to choose between cohesiveness and repertoire development when placed under time constraints. Judge what’s more important for your particular gig—spending time polishing a few songs or mounting numerous new songs. Just be careful not to sacrifice too much of either.
5. Conduct sectionals. Depending on the song, some sections will learn their parts with ease, whereas others will struggle. Allocate additional time and attention to those instrumentalists who need it the most by holding sectionals. The violins (the largest section) will usually require more focused rehearsal time to address the demands of their often-complex arrangements.
6. Practice in performance formation. Before your gig, arrange your students in the standing formation while running through your music. Typically, you will position them in a single concert arc (Diagram A), but if you have limited space, two arcs are also common (Diagram B). Your students will benefit from listening to and watching each other in the same manner that they will during an actual performance, not to mention that they will look very professional when they know exactly where and how to stand.
Diagram A. Single concert arc
Diagram B. Two arcs
ATTIRE
The contemporary mariachi attire is adopted from that of the charro (Mexican cowboy) and consists of jacket and pants for the men and a long dress for the women. While some accessories are optional, no traje de charro (charro suit) is complete without boots, cinto piteado (belt) for the men, moño (bow), and in some cases, botonadura (button adornments). A fully accessorized charro suit, complete with vest and sombrero (hat), can get into the hundreds, even thousands of dollars. Budget permitting, you should showcase your group in the full traditional attire. However, if resources are limited, you do have options.
What to wear:
1. For the modest budget, have your students wear a simple white dress shirt, black pants or skirt and black shoes. Compliment the attire with a colored moño, which costs anywhere from $5–15.
2. Compliment black pants or skirt and black shoes with a pachuqueña, a traditional button shirt worn by the caporal (ranch foreman). Prices range from $15–30.
3. Upgrade to the full traje de caporal (caporal suit) by complementing the pachuqueña with the traditional pants, boots ($30–$60), and cinto piteado (starting at about $50). A complete caporal suit ranges from $200–300.
4. The traje de gala style charro suit is the most widely used and is characterized by the silver or gold adornments worn along the seams of the pants, jacket buckles, and in most cases, sleeves. While black is the most universal, you can find it in almost any color. A three-piece suit begins at about $250.
5. The most elegant (and expensive) suits are the traje de greca and traje bordado con hilo metalico, which are embellished with intricately embroidered designs. A matching sombrero ($100–200) will add a touch of refinement to this suit. These suits begin at about $400.
Two excellent sources for high-quality mariachi suits are Mariachi Connection and La Casa del Mariachi.
ETIQUETTE
The performance begins the minute your students arrive at the event, so assure they make a good first impression by talking to them beforehand about proper etiquette. Students must arrive with clean suits and moños and polished boots, and they must make sure that their botonadura is in good condition. Ladies generally wear their hair pulled back, and the gentlemen should be clean-shaven. Above all else, students should understand that they are representatives of their school and should behave in a professional manner. Whether it is arriving on time to the gig or dealing with difficult clients, your students should always carry themselves with integrity, self-respect, and class.
IDENTIFY THE PERFORMANCE
A key step in preparing for a successful performance is to identify the type of gig. Mariachi ensembles are often asked to play in significantly different scenarios and each may influence your selection of songs and your approach to preparing your students.
The most common type of event is the celebration, such as the quinceañera (rite-of-passage celebration for 15-year-old girls) and wedding receptions. For this type of festive occasion, make sure to discuss with the organizer what expectations he/she has. You may be asked to perform ambiance music during the cocktail hour, familiar crowd pleasers during dinner, or perhaps more upbeat music at a dance. Ascertaining the needs of the organizer will help you determine whether you need to prepare soft instrumentals as opposed to a set of ranchera and bolero favorites, or even danceable sones, cumbias, and polkas.
In addition to typical celebrations, you may be asked to perform at a mass, a serenata (serenade), a funeral, or perhaps onstage in a concert setting. Whatever the occasion, choosing and preparing the right repertoire will enhance your performance and the experience of your audience.
PREPARING FOR A STAGE PERFORMANCE
Performing onstage is a special opportunity to show off the artistry and skill of your mariachi whether they play at a community festival, a performing arts center, or in a school assembly. Because your group is the show, they must attract and hold the attention of their audience, and doing so requires additional preparation.
Stage performances offer you the opportunity to select your songs and showcase the results of your students’ hard work. The performance will probably consist of standard crowd pleasers, but it can also include more complex “show songs.” Because these show songs require a higher level of technical skill, they should be performed by the most advanced students.
Some of the most popular ones include "Viva Veracruz I," "Viva Veracruz II," "Viva Veracruz III," "Cielito Lindo Huasteco," "Fiesta en Jalisco," "Violin Huapango," "El Cascabel," "Bodas de Luis Alonso," and "Huapango de Moncayo."
Suggestions for a successful stage performance:
1. Balance your set. Go through your ready stock of songs, and put together a set list that combines different genres and/or incorporates a variety of new pieces. Consider carefully the flow of your set as you move from one song to another. Mix upbeat genres (sones, 2/4 rancheras, joropos or medleys) with slower, more lyrical ones (boleros, huapangos, and rancheras).
2. Highlight your strengths. Your time is limited, so showcase your best performers. A pasodoble or polka will highlight a strong trumpet section, while a fine violin section may shine during a son jarocho or huapango. Select your best vocalists to sing both solos and in chorus to showcase the group's vocal strength.
3. Polish, polish, polish. A set repertoire will enable you to dedicate more time to perfecting your performance. Because this is a heightened level of performance, pay special attention to all of the finer points in music-making, including articulation, dynamics, phrasing, expression, blend, and balance.
4. Stress stage presence. Charisma on stage makes a big statement. Encourage your students to carry themselves with poise by smiling and physically expressing what they sing. Performers should stand tall, with feet shoulder-width apart and with everyone in the section holding their instrument uniformly and acknowledging the audience. Discourage negative gestures such as slouching, grimacing after a missed note, or turning your back to the audience. Most important, performers must have fun! An energetic group that exudes confidence will captivate the audience.
5. Provide a stage plot. Where microphones are available, provide stage crews and sound engineers with a stage plot. The typical show setup is a single arc with three vocal microphones in the middle of the stage in front of the ensemble. Every instrumentalist is amplified, and there are optional vocal microphones for the rhythm section. For proper microphone positioning, stands with boom arms should be used for the violin and rhythm sections. Your setup will vary depending on the size and instrumentation of your group, microphone availability, and individual needs, but the basic plot should look like this:
6. Run a sound check. High-quality sound mixes and amplification are an important part of presenting a great stage performance. Whenever possible, run a sound check to test the audio system. Start by having members of your group play into each microphone individually, and then move on to play as sections. Establish a blend within each section, and close the sound check by having the full ensemble play. Express your needs to the sound engineer throughout the process, especially when balancing the levels of the monitors and side fills. Spending focused time on the sound check will better prepare your group and the sound crew for the performance.
7. Practice stage maneuvering and microphone manipulation. Nothing looks more professional than a group that knows how to confidently move around on stage and properly handle microphones. Equipment such as monitors, cables, and microphone stands sometimes hinder mobility, so investing time in walking through your set will help minimize any insecurity during the performance.
Suggestions for maneuvering on stage and using microphones:
- Solo, duet, and trio singing are done on the front vocal microphones.
- Violin and trumpet microphones may double as voice mics for chorus parts.
- Use front vocal mics for instrumental solos.
- Be aware of the location of monitors, cables, and stands.
- Take adequate time when walking to a vocal mic.
PREPARING FOR A PRIVATE ENGAGEMENT
(If Your School Allows)
There are many different types of private events. In many cases, your clients choose the songs, and the only way to prepare is to rehearse what you think you may be asked to play based on the nature of the event. Other seasonal events, however, require you to adhere to a particular set of songs. For example, Fiestas Patrias (patriotic holidays) and Dia de Las Madres (Mother’s Day) require music that fits the general theme of the holiday, while others, like Dia de La Virgen de Guadalupe (Virgin of Guadalupe Day) and Las Posadas (a Christmas tradition) require a strict set of religious songs.
Suggested songs for your performance:
1. The Festive Gathering. Whether performing for a wedding or a birthday party, expect to play the standards. The demographics of your audience and the general mood of the event will influence what songs are requested. In general, you can count on playing pieces such as "Caminos de Guanajuato," "Cucurrucucu Paloma," "El Rey," "Ella," "Guadalajara," "La Malagueña," "El Mariachi Loco," and "Volver Volver."
2. The Mass. The traditional "mariachi mass," or Misa Panamericana, is commonly performed at baptisms, weddings, and quinceañeras within the Roman Catholic Church. Unlike other gigs, at a mass you will accompany the religious service with specific sacred music such as "Angelus," "Señor Ten Piedad," "Gloria," "Aleluya," "Padre Nuestro," "Santo," "Cordero de Dios," "Ave Maria," and "Pescador de Hombres."
3. The Serenata. There are countless love songs in the mariachi repertoire to be used at the serenata (serenade). While historically a courtship occasion, your early morning performance may also entail playing "Las Mañanitas" (Mexican birthday song) to celebrate the dawn of a new birthday. Some classic love songs include "Despierta," "Serenata Sin Luna," "Serenata Huasteca," "Gema," "Solamente Una Vez," "Reloj," "Sin Ti," "Tres Regalos," and "La Gloria Eres Tu."
4. The Funeral. Perhaps the most emotional gig is a funeral at which friends and family say farewell with music that had special meaning to the departed. Songs that mourn the loss but also celebrate the life of a loved one include "Amor Eterno," "Un Dia a La Vez," "Despedida con Mariachi," "Te Vas Angel Mio," "Cruz de Madera," "Nadie Es Eterno," "Adios a La Vida," "La Barca de Oro," and "Las Golondrinas."
For further information on choosing the appropriate repertoire, see the MENC October 2006 Mariachi Newsletter.
TAKE IT FROM THE PROFESSIONALS!
The best way for your students to learn the "dos" and "don'ts" of a successful performance is by observing professional groups.
On Video:
Mariachi Jalisciense has a superb collection of free online video clip performances from some of the most renowned mariachi ensembles. Mariachi Publishing also has some educational videos that include performances.
En Vivo (Live Performance):
Nothing beats watching and listening to a live performance. Sit in with a local mariachi group, or observe one in a public performance at a restaurant or community festival. Mariachi conferences are also a great source of superb performances of mariachi groups of all different age and skill levels.
The more your students are exposed to the world of mariachi, the more they will learn about how and what to prepare for their own performances.
For additional resources and a schedule of conferences, see the MENC Mariachi Web page.