The second rhythmic combination of the genre can be heard in the tutti part (when all the instruments enter) where the sound and liveliness of the band is increased. In this part, the sesquialtero character of the abajeño is felt with greater emphasis:

 

In our opinion, all these rhythmic aspects come to characterize, to a great extent, the abajeño in the Purépecha style, without forgetting, of course, the frequent use of major tonalities in band and orchestra melodies, which show a tendency towards high and elongated tones. together with phrases of successive eighth notes (6/8) that move rapidly by joint and repeated degrees like syrup. However, we recognize that only through a subsequent analysis will the tonal and scale aspects of the genre be delved into detail.

Regarding the theme of regional inspiration on the abajeño, there are abundant love themes closely related to “flowers”, praise to places, names of people or characters in the life of a town, references to the beauty of women and titles alluding to the animals of the region.

The torito is considered a separate genre, although in reality it is one more variant of the son, which is identified by its repetitive short phrases in 6/8 and in some cases combined in 3/4. It differs from the abajeño because of its brief and repeated character, as well as the occasion to play it.

Oral sources mention at least 20 types of bulls, which are distinguished by their theme, calendar or occasion. Although we have not yet been able to recognize the full range of these instrumental versions, in general terms we appreciate: “little bull to burn the castle”, “little bull to take the bulls to the corral”, “little bull to raise a Child God”, ” bull to lower the flag”, bull for “the burning of a pyrotechnic bull”, “bull for uares”²⁸ and “carnival bull” in which a painted and decorated cardboard bull is used, as an element of play, courtship and fun. In the riverside towns of Erongaricuaro and Ihuatzio, the music of the little bull is performed so that the uares or young girls wear their party dresses and dance through the streets of the town on their way to the bullring.

The calendar of the bulls, takes place from the month of October until the carnival, in this period of time the composers of the region bring out their inspiration to release a bull in each celebration. Anonymous ancient bulls and others by a well-known author are often played, receiving specific names of great popularity, such as the “requesón bull”, “eleven bull”, “old bull”, the “pigeon bull” and others.

One more variant of the son, is the one that is understood as regional son, this differs from the abajeño because it is somewhat slower and more melancholic, perhaps due to the frequent use of minor tonalities and its rhythmic in 3/8, which is identified according to the writing of the regional musicians as follows:

 

It is not common for this type of son to be zapateado, although in some cases it is danced. It is also in demand at patron saint festivities, at Corpus Christi and at weddings, being instrumented either with an orchestra or a band. Its interpretation in strings is considered as more traditional.

Francisco Domínguez and Delfino Gil Madrigal, refer to the regional son, the existence of other variants in the process of disappearing, which have been called river sones and island sones,²⁹ in addition to the slow sones of the mountains. The genres of the shores and islands have long characterized the music of Lake Pátzcuaro and its surroundings.

These local genres of the lake area have tended to get lost and have not really been precisely defined in terms of rhythms, melodies or instruments. It is worth mentioning in particular the style that prevails in Jaracuaro, through the use of the typical instruments of the mariachi without trumpet, which include vihuelas, guitarrón, violins and 6th guitar, an endowment that is also used in Lotatiro and La Zarzamora, towns neighboring Erongaricuaro.

The distinction of regional sounds, whether from the Lake, the Cañada or the Sierra, is established by the musicians themselves under the concept of “the taste of each town”.

As for the little sonecito so called popularly, it is integrated into the repertoire of solo instruments such as the reed flute or the shawm, although it is also part of the orchestras, bands and mariachios that accompany “sones de corte de danza”, whose theme is derived of the choreographic movements, such as: “the cross”, “the reverence”, “the clapping”, “the chain”, “the snail”, etc.

Its musical structure tends to be of short melodies in 8-bar phrases, generally repeated constantly. For the little sonecito, binary measures are used in 2/4 or 4/4; 6/8 is used more for the repertoire of abajeños played on flute and shawm. It should be clarified that certain abajeños also accompany some dances and are similar to sonecitos due to their brief and repetitive structure, although due to their rhythm they are quite different. The sonecito rarely presents a sesquialtera combination.

This reduced genre is more associated with the religious ceremonial of the festival than with its profane aspect, usually the dances that carry sonecitos, are characterized by their “offering” or “promise”. On the other hand, the solo instruments of flutes and chirimiteros, who interpret the genre, are normally incorporated into the structure of Corpus Christi and patron saint festivities in church atriums. As for the Purepecha carnival, it has not been specified if it is absolutely profane, since manifestations of dance and music accompanied by little sounds are appreciated in it, which seem truly ritual.

Reviewing the theme of regional sones and sonecitos, a preferential use of titles alluding to the regional flower or TSATSA’Ki is discovered, differentiating its species and different denominations such as “flor de tule”, “flor del bean”, “flor de chicalote “, “dahlia flower”, “poppy flower”. “charanguini flower”, “cinnamon flower”, etc. This theme is also common in the pirekua³⁰ or traditional form of song in the Purepecha language in which the divine beauty of the flower with a deep spiritual meaning is highlighted.

We find in this symbolism of themes referring to flowers, ancient Mesoamerican roots of great similarity with the duality “flower song”, embodied in Nahuatl poetry and in some of the deities of the Aztec world such as Xochipilli-Macuilxóchitl, representative of music and dance. .

In conclusion, most of the Purepecha genres are interpreted within the scope of the festival, such as sones, tortos and abajeños by a well-known author, there are also those by an anonymous author, although they are truly rare. Socio-economic relations have somehow contributed to the enrichment of musical experiences between Purepechas and mestizos. The Purepecha musician in particular has used his great inventiveness and talent to develop the elementary techniques of harmony and rhythm.

The role of the regional composer is equally important, since he is in great demand in festive events of greater social and religious relevance. The fresh sounds that spring from each new son redound to the benefit of a social prestige eagerly sought by creators and performers before the Purepecha community.

 

Current Instrumental Organization

In our study region we have found five types of instrumental ensembles that remain in force, even when some of them are about to disappear. They are popularly identified as the band, the orchestra among the most numerous groups, continuing to a lesser extent the mariachi or mariachito and finally the small groups of solo and accompaniment instruments, made up of duos, trios and quartets better known as flute ensembles. and drum or pifaneros and shawm and drum or chirimiteros.

These small groups of aerophones are recognized as the oldest in Michoacán. With regard to the flute and drum ensemble, the influences of two cultures are obvious: the Hispanic one represented in the snare drum and the Mesoamerican one in the reed flute, despite its European name of fife.

In our fieldwork itineraries, we have found isolated references to the validity of this group and mainly to the survival of the reed flute in San Andrés Tziróndaro, Jarácuaro, Cucuchucho, Zopoco, Carapan and Cherán Atzícurin. The most common examples of this type of aerophones are provided with 6 holes, which normally reproduce pentatonic scales (with 5 sounds) through thick and thin tubes manufactured with the reed or p’atamu (Arundo Donax L.)³¹ that grows in the lake area of Pátzcuaro.

The musicians of the region distinguish at least two types of flutes for festive use, differentiated as “first” by its high-pitched tone and thin tube, which alternates with the “second” with a lower or lower tone and wide tube.

Generally, the musicians who play this type of aerophones are also manufacturers and learn to build and play them as children, forming part of their game and pastime. Later, when going through adolescence and maturity, the function of the flute changes when it becomes an instrument for ritual use, thus completing an important phase in the indigenous life cycle.

As for the snare drum, it is a type of membranophone with a wide wooden or sheet metal box, provided with two skins made of calf or goat skin, with an addition of guitar strings. These serve as a snare that is vibrated by resonance as seen in military or war drums.

It is also known as snare or “tarolita”, depending on the thickness or width of the sound box. It is struck with a pair of drumsticks or sticks and is held by a leather or ixtle strap to the performer’s body. The tuning is done by means of a tension system provided by the tied ixtle ropes, said tuning is generally in high pitches, stretching the leathers to the maximum, thus allowing the musician to make his “rolls”.

It is common to observe the participation of the flute and drum ensemble on ceremonial occasions of a Corpus or to accompany the chanantzcua or Carnival dance, in which the shawm groups also dabble.

In their organization, the chirimiteros are very similar to the group of pifaneros, since they are made up of an aerophone and a snare drum, the difference is noticeable in the characteristics of sound and design of the wind instruments. Among the chirimiteros, the particular use of a double-reed aerophone (mouthpiece system) grouped in duets, trios or solo, accompanied by snare or “tarolita” can be distinguished.

According to testimonial chronicles and paintings from the Colony, the shawm seems to have entered through the paths of worship and religious services, which can be seen in the vaults of the oldest Christian temples.

Despite its Hispanic introduction in Michoacán, we recognize that the instrument presents a greater antiquity, which goes back to the Islamic tradition. This is explained by the evident influence of the Moors who dominated Spain for more than 700 years.

Among the families of Islamic instruments in which there is an extraordinary resemblance to shawms, we will mention the double-reed bagpipes traditionally used in the Middle East, known as Surnai,³² also equipped with a pavilion system at the end opposite the mouthpiece, as in the European oboe.

The shawm is made regionally in madroño wood, (Madronillo)³³ provided with 8 and 9 holes, in the artisan workshops of Paracho and Ahuiran, to which musicians normally resort to buy the tube of the instrument.

At home, the mouthpiece or mouthpiece is manufactured, in which process two strips measured approximately the width of four fingers are selected from the palm or chuspata (Cyperus), to be cut into four small pieces that are soaked in hot water softening them. . Once this is done, they are cut and tied into cannulas of the feathers of the turkey or another bird, to an approximate size of five centimeters. As in the oboe and English horn mouthpieces, they are moistened with the lips to give them an adequate sound.

Frequently the chirimiteros participate in religious organizations as essential elements in the atriums of churches, also during Corpus Christi and patron saint festivities at the invitation of the freighters on duty. During the Colony, these instruments used to accompany the dances of Moors and Christians³⁵ that today are accompanied by bands.

Regarding the well-equipped ensembles, the orchestras correspond to the instrumental group of the most colonial tradition. Among the Purépecha musicians, the orchestra is conceived in two ways, one for its exclusively stringed instruments and the other as a mixed group that includes chordophones and aerophones.

String orchestras generally use two or more violins, a 3- or 4-string double bass, sixth guitar, five-string vihuela, and cello, which reminds us of “chamber” music groups and certain Venetian orchestras of the 17th century, which also included the harp.

Comparatively, the mixed orchestras, in addition to the European string instruments, expand their endowment with clarinets in Bb (B flat) or Eb (E flat), transverse flutes in C (Do), alto saxophones in Eb and tenors in Bb, piston trombones in C and French horns frequently replaced by small Saxhorns in Eb or Bb, which are also known as “harmonies” or “euphoniums”.

Through references by Carl Lumholtz³⁶ there are reports of Purépecha orchestras at parties, weddings and wakes in times of the Porfiriato, a time in which they acquired prestige and social demand. Still towards the beginning of the century these orchestras maintained their fame.

Delfino Gil Madrigal cites, for example, the prestigious Crispin Tinajero orchestra in Erongarícuaro, which was known throughout the entire portion of Lake Pátzcuaro and of which his father Don was a part. Delfino Madrigal, playing the trombone, along with violins, cellos and double basses.³⁷

The maestro Salvador Próspero also alludes to the former orchestras of Tata Cruz Jacobo and J. Jesús Zavala in Sevina, as well as those of the brothers Nicolás and Alejandro Juárez in Jarácuaro; that of Don Epitacio Equihua in Aranza and that of Francisco Salmerón Equihua among others.³⁸

We would not do justice if we failed to mention the great orchestra led by José Santos Campos and Lambertino Campos, which is currently, as a posthumous tribute, in the process of being reorganized by their descendants, highly talented musicians in Zacán.

The role of the Purépecha orchestra has remained faithful to the Corpus tradition since the colonial period, in which it also accompanied dances, patron saint festivities and wedding celebrations.

As for the mariachi or “mariachito”, as it is known in the context of the regional festival, it is in itself another string group, although its characteristic endowment is given by the 6-string guitarrón, which appears as a rhythmic bass and in which finds a remarkable similarity with the chitarrone or archlute of Venice.³⁹

Even though the mariachi seems to come from the times of the Maximilian Empire, around 1870 in our country, the incorporation of the trumpet did not occur until the 20th century.⁴⁰ The presence of the mariachi in the Purépecha tradition denotes a marked influence of the mestizo ensembles that arise in Colima, Jalisco and Michoacán, especially in Uruapan, Purépero, Camécuaro, Zamora, Sahuayo and Jiquilpan.

The mariachi or mariachito plays regularly to accompany the dances within devotional festivities; Among the oldest dances, those of Viejitos, Santiagos and the “dance in honor of the Lord of Rescue” that takes place in Tzintzuntzan with a similar group stand out.⁴¹

As previously mentioned, Paracho has been the main supply center for string groups since the 18th century and especially for the mariachi of western Mexico and other string ensembles in the republic.

Without delving into the artisan aspects, we will mention the main woods commonly used in the manufacture of chordophones. Regarding the design of violins, cellos and double basses, the woods⁴² of Pinabeto (Pinus Ponderosa, Pseudosuga Mucronata and Cupressus Arizonica) are appreciated for the soundboards; blackwood (Agonandre O. St.) for pegs; the oak (Quercus, Trel.) for the neck of the “bows” to which nylon or horsehair strings are also adapted; pine (Abies Rel.) for bridges and steel or nylon strings.

Regarding the manufacture of vihuelas, guitars and guitarrones, the granadillo and cedar (Cupressus, Cedrela Dugesii) in pegs; tacote (Lagrezia Monusperma) for tapas; the pine for the “arms”, the red cedar for the resonance boxes, the common cedar for bridges; nylon or metal strings and some cirimo inlays (Tilia Houghi).

Finally, we will refer to the band as the largest group and the one with the greatest current demand in the Purépecha festival. In our view, this group, due to its sound impact, has tended to overshadow the participation of the orchestras in popular demand, although no less important for that.

The history of the band goes back in Michoacán to the old groups of drummers and trumpet players who used to participate accompanying the old dances of Moors and Christians.⁴³ However, it was not until the first half of the 19th century, when Austrian bands became more popular,⁴⁴ It is when its endowment is expanded with more sophisticated instruments.

The instruments that make up the band can be divided into circular mouthpiece instruments, reed instruments and percussion instruments:

 

1. Circular mouthpiece instruments

Trumpets in Bb (B flat)
Piston trombone in C(Do) or in Bb(B flat)
Slide trombone in C 6 an Bb

Alto Saxhorn in Eb (E flat)
Baritone Saxhorn in Bb
Tenor Saxhorn in Bb

Tuba or helicon in C or in Bb

2. Single reed instruments

Eb Clarinet
Bb Clarinet
Alto saxophone in Eb
Tenor saxophone in Bb
Soprano saxophone in Bb
Baritone saxophone in Eb

3. Percussion instruments

Drum or bass drum
crash cymbals
Snare or snare drum
(of fabric)

 

The euphoniums or saxhorns, known as “harmonies”, are regularly used to replace the French horn, in disuse among most of the Purépecha bands today.

These groups are economically more active than all the other groups in the region, their income, according to field data from 1980 and 1981, oscillate between 10,000 and 60,000 Mexican pesos, so hiring a band at the party is in question. direct relationship with the economic possibilities of the organizers of the event or through a global cooperation between the inhabitants of a community.

Actually the costs are really fair, if you take into consideration the increased number of contract musicians who play for two or three days, with breaks only for eating and sleeping. It is also worth taking into account how difficult it is for some musicians to acquire the most expensive instruments in the festive environment, which are the metal-breath and wood-breath instruments, although some have been obtained second-hand or through family inheritance.

Above all, the presence of a band gives prestige and status to the Purépecha party. A relevant aspect of this are the skills of execution, direction, repertoire and popularity of the bands that play in their own towns or in others that they attend by commitment. The first part of the competitions is characterized by the interpretation of written music, based on the repertoire of waltzes, mazurkas, overtures and marches, in which the Purépecha musician demonstrates his reading ability. The second part of these meetings, allows to unleash the improvised sense of abajeños and sones that locate the town in its region, at this moment it is common to see the collective euphoria or climax of the party, either through the tap dance, the shout expressive or the traditional burning of castles and pyrotechnic bulls.

The last part of the competitions, generally alternated with that of abajeños and sones, also gives an opportunity to requests from cargueros and assisting people, from the commercial repertoire based on mambos, danzones, pasodobles, cumbias, etc., or from traditional pieces such as corridos in instrumental version and polkas.

 

Final Words

 

Registering the music in the Purépecha festival was not an easy task if we take into account that in each town there are at least two or more festivals with music. Those registered with recording material during January, February and March of 1981, almost all of them were for employers, there were also wedding and carnival events. In the last phase, visits were made to the communities to obtain complementary information on the musical genres present in the cycle of the Purépecha Festival, which we have been following since February 1980.

The commitment does not end here yet, as there were still many communities to visit and cover through sound recording in those festivities with movable dates such as Corpus Christi and its processions by guilds, which in some places become the most sumptuous event. We hope to have a new opportunity to complete the task begun in field recording and hopefully the musical selection made will show the particular meaning that the regional festival presents. In each one we find friends before whom the commitment is the achievement of this compilation.

In a special way we express our most sincere gratitude to all those people who offered us hospitality in their homes, to the musicians in whom we admire their effort to keep the tradition alive; Professor Francisco Elizalde García and his radio program “Mañanitas Purépechas” from XEZM (Zamora, Mich.) from whom we obtained the first approaches to the music of the region.

We also thank the Regional Delegation of the National Institute of Anthropology and History in Morelia, for their teacher Irene Vázquez Valle, head of collaboration; INAH Record Publishing Department, for their support and comments on the preparation of this volume, which aims to continue the study of Son in Mexico, widely referred to in the INAH Record Series and to Dr. Luis González y González, President of El Colegio de Michoacán, A. C., from whom we have always received the friendly word and the encouragement for the task already begun.

 

ARTURO CHAMORRO AND MARIA DEL CARMEN DIAZ DE CHAMORRO.

 

---

¹ Alberto Beltrán, “Introducción” al Calendario de Fiestas Tradicionales. México, S.E.P., Dirección General de Arte Popular, 1977, pp. 3-7.

² Celso Lara, “Aproximación científica al estudio del Folklore”, Folklore Americano. México, Instituto Panamericano de Geografía e Historia, O.E.A., 1976, Núm. 22, p. 54.

³ Héctor Martínez Arellano, “Vi0cos: las fiestas en la integración y la desintegración cultural”, Revista del Museo Nacional. Perú, 1956, T. XXVIII, p. 244.

⁴ Benedict Warren, La Conquista de Michoacán: 1521-1530, Morelia, Fimax Editores, 1977, p. XIII.

⁵ Francisco Miranda, “Estudio Preliminar” a La Relación de Michoacán. Morelia, Fimax Editores, 1980, pp. XXXII – XXXIV.

⁶ Agustín Jacinto Zavala, “La Visión del Mundo y de la Vida entre los Purépechas”, Ponencia presentada en el Segundo Coloquio de Antropología e Historia Regionales, Zamora, Michoacán.

⁷ Fray Jerónimo de Alcalá, La Relación de Michoacán, Morelia, Fimax Editores, Vol. V de la Colección de Estudios Michoacanos, 1980. El manuscrito original de esta obra procede del Siglo XVI y se conserva en la Real Biblioteca de San Lorenzo de El Escorial en España.

⁸ María Teresa Sepúlveda, Los Cargos Políticos y Religiosos en la Región de Pátzcuaro, México, Instituto Nacional de Antropología, SEP-INAH, Colección Científica No. 19, Etnología, 1974.

⁹ Daniel Castañeda, “Una flauta de la Cultura Tarasca”. Revista Musical Mexicana, México, Vol. 1. No. 5. Marzo 7, 1942, p. 109.

¹⁰ Op. Cit. p. 276.

¹¹ Fray Maturino de Gilberti, Diccionario de la Lengua Tarasca o de Michoacán, Guadalajara, Colección del Siglo XVI, Núm. 9, 1962.

¹² Relación de Michoacán, Op. cit. Tercera parte, p. 276.

¹³ Thomas Stanford, A linguistic analysis of music and dance terms from three sixteenth century dictionaries of mexican indian languages, Austin, University of Texas, Offprint Series No. 76, 1966, p. 106.

¹⁴ Robert Stevenson, Music in Aztec and Inca Territory, Berkeley, Calif., 1966, p. 172. Apud, Antonio de la Cibdad Real, Relación Breve y Verdadera, documentos inéditos para la Historia de España, LVII-LVIII (1872-1873).

¹⁵ Inspección Ocular en Michoacán, regiones centrales y sudoeste. México, Editorial Jus, Introducción y Notas de José Bravo Ugarte, 1960, p. 80 (Documentado en el Archivo General de la Nación. Ramo Historia. Tomo 73. Folios 285-405).

¹⁶ Thomas Stanford, “The Mexican Son”, Yearbook of the International Folk Music Council, Austin, Texas, 1972, p. 66 Apud, Diccionario de Autoridades de la Real Academia de la Lengua (1726-1739).

¹⁷ Gabriel Saldívar, Historia de la Música en México, México, S.E.P. 1934, pp. 221-223, 252-253.

¹⁸ Thomas Stanford, Op. cit., pp. 66-85.

¹⁹ Vicente T. Mendoza, Panorama de la música tradicional de México, México, U.N.A.M., Instituto de Investigaciones Estéticas, 1956, p. 59.

²⁰ Gerónimo Baquéiro Foster, Historia de la música en México, México, S.E.P.-I.N.B.A., Vol. III, 1964, pp. 14-15.

²¹ Irene Vázquez Valle, El son del sur de Jalisco, Guadalajara, Edición especial del Departamento de Bellas Artes y el Gobierno de Jalisco (Primera Parte), 1976.

²² Vicente T, Mendoza, Op. Cit., Gabriel Saldívar, Op. Cit., José Raúl Hellmer, “The music of the mestizo”, Toluca Gazette, Toluca, Junio 15, Modern Mexican Music, Part II, 1960, p.5.

²³ Mark Stephen Foguelquist, Rhytm and form in the contemporary son jalisciense, Los Angeles, Calif., U.C.L.A. Tesis, 1975, p. 7 y, Laurence Ira Saunders, The son huasteco, Los Angeles, Calif., U.C.L.A. Tesis, 1976, p. 33.

²⁴ Thomas Stanford; Op. Cit., p. 81.

²⁵ Salvador Próspero Román, “Origen de las Bandas y Orquestas Populares en Michoacán”, Kueraani, Morelia, Organi cana de Artistas y Escritores, 1972. ación Michoacana de Artistas y Escritores, 1972.

²⁶ Irene Vázquez Valle, Op. Cit., (Parte Segunda)

²⁷ Thomas Stanford, Op. cit., p. 77, los define como de “seis que alterna”.

²⁸ Pablo Velázquez Gallardo, Diccionario de la Lengua Phorhépecha, México, Fondo de Cultura Económica, Sección de Obras de Antropología, 1978, p. 218 refiere el vocablo uárhi como dama o mujer.

²⁹ Francisco Domínguez, Sones, canciones y corridos michoacanos, México, Instituto Nacional de Bellas Artes, Talleres Gráficos de la Nación, 1941, Vol. 1, Delfino Gil Madrigal: comunicación verbal aludiendo a la música tocada por su padre, Delfino Madrigal en la Orquesta de Crispín Tinajero hacia principios de siglo.

³⁰ Por considerarse a la pirekua, como un género vocal de gran importancia para el conocimiento de la música purépecha, merecería un estudio especial. Entre las grabaciones de notable calidad y autenticidad referiremos las de Henrietta Yurchenco, The Real Mexico in Music and Song, New York, Nonesuch Records, por citar uno de los más antiguos registros de este género.

³¹ Pablo Velázquez, Op. Cit., p. 179, “popote de la planta de raíz del zacatón”.

³² Nazir A. Jairazbhoy, “The South Asian double-reed aerophone reconsidered”. Etnomusicology, Ann Arbor, Michigan, Vol. XXIV. No. 1, 1980, p. 147.

³³ Francisco J. Santamaría, Diccionario de mejicanismos, México, Editorial Porrúa, 2a. Edición, 1974, p. 678 “varas de membrillo”.

³⁴ Ibid., p. 429, “voz tarasca de la ciperácea”

³⁵ Arturo Warman, La danza de Moros y Cristianos, México, SEP-SETENTAS, No. 46, 1972, pp. 104-105.

³⁶ Carl Lumholtz, El México Desconocido, México, Editora Nacional, Tomo II, 2a. Edición, 1960, pp. 337-398.

³⁷ Comunicación del maestro Defino Gil Madrigal, organista en Morelia.

³⁸ Notas al disco Música de Cámara Kuerani, México, Secretaría de Educación Pública, Universidad Michoacana de San Nicolás de Hidalgo, 1980. Recopilación de Salvador Próspero Román.

³⁹ Robert Stevenson, Heterofonía, México, Revista Musical, No. 37, 1974.

⁴⁰ Mark Stephen Foguelquist, Op. Cit.

⁴¹ Stanley Brandes, “Dance as Metaphor: A case from Tzintzuntzan, México” Journal of Latin American Lore, Berkeley, Calif., 5/1, 1979, p. 29.

⁴² Nombres científicos tomados de Francisco J. Santamaría, Diccionario de Mexicanismos, México, Editorial Porrúa, 1974, pp. 38, 232, 852, 976, 994; 562, 854.

⁴³ Warman. Op. cit., p. 104.

⁴⁴ Salvador Próspero Román, Op. cit.

 

Face A

 

No.1

THE KUEREPO 

abajeno

 

Registered during the festivities of the Lord of the Rescue in the town of Tzintzuntzan. Its execution corresponds to the burning of the pyrotechnic castle, at the moment in which the competition of the regional bands took place. From what the interpreters tell us, this abajeño seems to be by an anonymous author and its theme alludes to a certain type of fish also known as “charal pinto” that grows in Lake Pátzcuaro.

 

The execution of this abajeno denotes the classic style of the bands of the Sierra, through the Banda San Francisco de Cherán, composed of the following elements:

Melchor Pulido (conductor), tenor saxophone in Bb (B flat); Margarito Pahuamba, tenor saxophone in Bb; Antonio Tapia, tenor saxophone in Bb; Mario López, alto saxophone in Eb (E flat); Benedicto Huerta, alto saxophone in Eb; Salomón Olivares, soprano saxophone in Eb; Antonio Fabián, clarinet in Bb; Eustachian, clarinet in Bb; Eusebio González, clarinet in Bb; Ruperto de la Cruz, clarinet in Bb; Reynaldo López, rod trombone in C; Fermín Fabián, rod trombone in C; Nicolás Rodríguez, trumpet in Bb; Pablo Agustín, trumpet in Bb; Graciano, trumpet in b; Arnulfo Macías, alto saxhorn in Eb; Felipe Huerta, tuba or helicón in Bb; Francisco Macías, hype; Artemio Olivares, cymbals; Elias Hernandez, snare drum.

Recording date: February 24, 1981.

 

No. 2

TULE FLOWER AND FRIJOLITO FLOWER

sonecitos

 

Linked pieces that are played for the entrance of the Carnival dance known as chanantzkua, from the island population of Jarácuaro in Lake Pátzcuaro.

The accompanying group is that of the reed flute and drum led by Tata Pedro Patricio, a 74-year-old blind musician who began playing the flute at the age of 16, learning by oral tradition. Tata Pedro tells us that these sonecitos were part of the custom of the grandparents and were interpreted on festive occasions inside the uatapera at the time of the presentation and change of the “cargos”, so it is believed that they are authored. anonymous these little sonnets, according to the opinion of the musicians of the region.

The tendency to use the pentatonic scale (with five sounds) with deep Mesoamerican roots is recognized in these interpretations, although the Hispanic influence can be appreciated in the rhythmic structure and the use of the European drum.

Tata Julio Domínguez, director of the aforementioned dance, as well as the accompanying musicians of this group, are natives of Jarácuaro who, in addition to their festive activities, are dedicated to the work of the chuzpata, a type of palm that grows in the lake portion with which they They make hats, baskets and other handicrafts.

 

Performers: Pedro Patricio, reed flute; José Domínguez, tarolita.

Recording date: January 22, 1981.

 

No. 3

STEPPING ON CROOKED

abajeno

 

Composition by Tata Juan Crisóstomo, originally from Quinceo, member of his community orchestra, where the recording was made.

In this abajeño a different style can be appreciated from the other groups of the Sierra, conserving its combined rhythmic structure and the development of descending melodies that end in the classic cadence of the jarabe, although it could also be recognized in the finale, a certain influence of the Jalisco son, justified by the cultural exchange between Jalisco and Michoacán.

The author of this piece tells us that they usually play it at patron saint and wedding festivities. Its theme revolves around the following story provided by Tata Juan Crisóstomo himself: “At first the abajeño had no name and I asked one of my sons: let’s see my children, how do we name this abajeño? then one says: look how you step, for playing around you walk crookedly, you wear crooked heels. And that’s how the name stuck. It is also said that when someone gets drunk and goes to jail they already “stepped crookedly”. When a girl gets married and it goes badly in marriage, it is also said “he stepped on crooked”.

 

Performers of the Quinceo orchestra:

Francisco Salmerón Equihua (conductor), alto saxophone in Eb; Juan Crisóstomo Valdéz, first violin; Eleuterio Crisóstomo Carrión, plunger trombone in C; Cecilio Crisóstomo Carrión, four-string double bass; Miguel Corales Alonso, second violin; Daniel Flores Vargas, clarinet in Bb; Pedro Luna Flores, cello.

Recording date: March 2, 1981.

 

No. 4

CARNIVAL LITTLE BULL

son

 

Genre recorded in the Carnival festivities in Ocumicho, of which the musicians refer us is by an anonymous author. The characteristic of this “little bull” is that the band joins a walk during which the recording was made, in which they appreciate the different volumes of the instruments due to the dispersion of the performers. This type of piece is performed only during that time as it serves to accompany the presentation of bulls, of the freighters in turn and the choreography of the latter within the iuriso, where women and girls crash eggshells, full of confetti and dust. of golden color on the heads of the musicians and attendees.

The walk that proceeds to the cardboard bull is presented as an element of play and fun, in which men, women, adolescents and children participate.

 

Performers of the Band of San Pedro de Ocumicho:
Natividad Quiróz, clarinet in Bb; Federico Elías, clarinet in Bb; Rosalío Pascual, clarinet in Bb; Miguel Vicente, trumpet in Bb; Timoteo Vicente, rod trombone in C; Fernando Vicente, slide trombone in C; Narciso Cruz, piston trombone in C; Leobardo Vicente, tenor saxophone in Bb; Lorenzo Pascual, alto saxophone in Eb; Antonio Hernández, fun sex high on Eb; Zacarías Benito, helicon in Bb; José Luis Vicente, snare drum; Hector Aparicio, bass drum; Uriel Vicente, cymbals.

Recording date: March 2, 1981.
(Tuesday of Carnival)

 

No. 5

CURPITES DANCE

abajeno

 

Anonymous piece recorded during the Los Reyes festival contest in San Juan Nuevo Parangaricutiro. The dance is characterized by the improvisation of steps on a floor. It is made up of the following characters: the maringuia or lady, the tarepeti or old man and the curpites or young people.

The maringuia dances with the body almost immobile, raising the arms to the height of the head with slight inclinations, while the pics follow the rhythm of the abajeño with very small steps that stop, according to the cuts typical of the music. The tarepeti dances in a similar way but with his arms behind him and in one hand he carries a wooden stick, the steps are similar to those of the “lady”, with the freedom to improvise and marking the musical changes with a slight tapping.

It is common for abajeños and sones to be premiered for competitions, promoting a fresher and younger sense of dance, with a certain order in the repertoire, which is:

1. regional son input
2. syrup or abajeno
3. regional son
4. abajeno for curpites
5. abajeño for the maringuia
6. abajeño for the tarepeti

Apparently it is a courtship dance between young people, there is a custom that the curpites dance accompanied by the orchestra in front of their girlfriends’ house, later they, as a response and attention to the groom, have to attend the competition in absolute discretion.

 

Members of the Aranza orchestra:
Nicolás Rodriguez, trumpet in Bb; Juan Villanueva, alto saxophone in Eb; Ignacio Melchor, saxophone having in Bb; Abel Jiménez, trumpet in Bb; Antonio Macías, trumpet in Bb; Epitacio Equihua J., five-string vihuela, with four-string work.

Recording date: January 8, 1981.

 

No. 6

MOORS DANCE

sonecitos

 

Compiled in the town of Huáncito, in the Cañada de los Once Pueblos, on the occasion of the San Sebastián Patrono festivities. By oral source it is said that they are from an anonymous author and are characterized by their linked phrases, each corresponding to a choreographic movement.

The first part is made up of 6/8 and 3/4 rhythms and tends to be a bit more pronounced and cheerful, linked to a slow melodic movement without a defined beat in which the dancers clash the spurs of their boots (as can be heard in the example clearly), continuing towards a rapid movement, as a restatement of the initial sentence.

As is customary in other festive-religious dances, the Moorish dance takes a tour of the main houses of the town, especially in the patios of the houses of the cargo carriers and the priest.

Generally these little sonnets are accompanied by a band, although we remember that during the Colony they were accompanied by drums and shawms, as well as some trumpets.

 

Members of the Santa Cecilia Band from Ichán:
Felipe Pablos (conductor), slide trombone in Bb; Juan Alejo, rod trombone in C; Máximo Magaña, piston trombone in C; Leovigildo Bartolo, trumpet in Bb; Salvador Valdovinos, trumpet in C; Miguel Magaña, trumpet in Bb; Procopio Pablo, tenor saxophone in Bb; Rogelio Magaña, alto saxophone in Eb; Gabino Baltasar, clarinet in Bb; Abel García, clarinet in Bb; Dámaso Pablo, clarinet in Bb; Gilberto Gregorio, clarinet in Bb; Luis Morales Secundino, clarinet in Bb; Vidal Gregorio López, snare drum; Miguel Macial, bass drum; Herlindo Magaña, cymbals.

Recording date: January 20, 1981.

 

Face B

 

No. 1

TORITO FOR CASTLE

son

 

Old genre of anonymous author arranged by Argimiro Ascencio, Director of the Band “La Michoacana” from Ichán. Musicians usually play it during Carnival and also at weddings, although in this case it was performed on the occasion of the burning of a castle, and a little bull with pyrotechnic lights during the festivities of the Lord of the Rescue in Tzintzuntzan.

They also held a competition for regional bands on said festivity, in which priority was given to the repertoire with the greatest popular demand, such as the abajeños and toritos.

In this example, combined bars can be seen right at the entrance of the son, taking a 3/4 for the brass instruments and a 6/8 for the clarinet, and then continuing in the same six-eight rhythm, in which the skillful executions of the trumpets stand out towards the second part of the little bull.

The “La Michoacana” Band has acquired great fame for its quality of execution, the late Isaac López, notable trumpeter from Ichán, a place of great composers, is especially remembered.

 

Members of the Band “La Michoacana” from Ichán:
Argimiro Ascencio (conductor), trumpet in Bb; Rigoberto Zamora, helicon in C; Silverio Bartolo, trumpet in Bb; Alfonso Gregorio, trumpet in Bb; Gerardo Ramos, rod trombone in C; Antonio Ascencio, slide trombone in C; Eduardo Miguel, rod trombone in C; Alfredo Granados, clarinet in Bb; Abel Granados, clarinet in Bb; Gilberto Gregorio, clarinet in Bb; Herlindo Andrés, clarinet in Bb; Eustorgio Bartolo, tenor saxophone in Bb; Bernardino Francisco, alto saxophone in Eb; Julián Bartolo, alto saxophone in Eb; Simón Francisco, baritone saxhorn in Bb; Justo Gregorio, alto saxhorn in Eb; Enrique Uribe, alto saxhorn in Eb; Francisco Gregorio, cymbals; Antonio Fuentes, bass drum; Pedro Valencia, snare drum.

Recording date: February 24, 1981.

 

No. 2

K’AN P’IKUKUA (CUT THE LEAF OF THE CORN)

sonecito

 

The record comes from the mountain population of Cheranástico or Cherán Atzícurin, made in the house of Mr. Jesús Hérnandez Tziandón chirimitero, who translates the theme of this little sonnet as “cutting the leaf of the corn plant” that is played on the 15th of August for the feast of the Virgin of the Ascension.

In this little sonnet a tendency towards the rhythm of 3/8 can be seen, although with some impreciseness. It is accompanied by two shawms and a wide snare drum, provided with calfskin that is struck with sticks or wooden drumsticks. The optimal tuning of this drum is sought in the highest pitch, which is obtained by pulling ixtle ropes, placed in the body of the membranophone.

The shawm consists of 9 holes, which produce the sounds of the diatonic scale, depending on the pressure of the lips and the half covers with the fingers. The instrument, made of arbutus wood, was acquired in Ahuiran, and the mouthpiece is always made by the performer, his 10 and 15-year-old grandchildren accompany him.

 

Members:
Jesus Hernandez Tzianddon, chirimía first; Rodolfo Medina, second; Aniceto Hernandez, playground.

Date of recording: 1st. of March 1981.

 

No. 3

AT THE FOOT OF THE VOLCANO

abajeno

 

Inspiration by Miguel Sosa, recently composed for the dance of Viejitos recorded during the festivities of Santo Tomás de Aquino, in the mountain town of Cocucho.

This abajeño presents a notable influence of the syrup and even though it could be similar in its instrumental endowment to the mariachi, the musicians in particular make us distinguish that it is an “accompaniment orchestra” to the dance, since instead of the traditional guitarrón, it uses the double bass together with the band’s own instruments, such as saxophone, trumpet and trombone.

The rhythm section is characterized by a sequence of “triplets” in 6/8 time, closely related to the zapateado of the Viejitos. In this dance the typical style of the Sierra is appreciated, also associated with the other Oldies of Cherán, Tingambato, Uruapan and Tingüindín. The difference of this group, with the other dances of the lake towns of Jarácuaro and Santa Fé de la Laguna, lies in the organization of the choreography and the improvisation of movements, as well as the execution of abajeños that have very different rhythmic cuts.

The dance is of a humorous type, in which young people and mature men generally dress up, with wooden masks that represent the face of an old man, a hat decorated with ribbons, a woolen cotton shirt and white pants, sandals and a otate cane, with the one that supports and gives rhythmic accentuations.

Due to the composition of the clothing, music and instruments, the dance seems to be of European or mestizo origin, with the exception of the cane, whose use and design is believed to have a Mesoamerican origin.

The orchestra that accompanies this dance comes from Angahuan, reinforced by musicians from Corupo, and communities from the Paricutín volcanic region.

 

Members:
Isidro Soto, violin; Esteban Melgarejo, tenor saxophone in Bb; Guadalupe Rita, trumpet in Bb; Salvador Tadeo, trumpet in C; Dionisio Amado Lázaro, 4-string double bass; Miguel Sosa, trumpet in Bb; Josebio Soto, violin; José Isabel Bravo, sixth guitar; Florencio Cruz, 5-string vihuela.

Recording date: January 28, 1981.

 

No. 4

T’IPICHUKUA URAPITA (WHITE SHORTS)

regional son

 

They are regional from the Sierra, composed 25 years ago by Francisco Salmerón Equihua, director of the Quinceo orchestra, the town where the recording was made.

This son is usually played for weddings, parties and Corpus Christi. In its rhythmic structure, the use of 3/8 prevails through certain figures given by the piston trombone, which gives the orchestra its own style.

The author of the son translates the theme as “white pants” alluding to the fact that many years ago the men of the mountains wore white pants.

It is important to mention the variety of bow instruments endowment; Thanks to the family tradition and the personal enthusiasm of those who make up the orchestra, its disappearance has been avoided.

 

Members of the Quinceo orchestra:

Francisco Salmerón Equihua, alto saxophone in Eb; Juan Crisóstomo Valdéz, first violin; Eleuterio Crisóstomo Carriún, piston trombone in C; Cecilio Crisóstomo Carrión, 4-string double bass; Miguel Corales Alonso, second violin; Daniel Flores Vargas, clarinet in Bb; Pedro Luna Flores, cello.

Recording date: March 2, 1981.

 

No. 5

THE CROSS

sonecito

 

Selection by an anonymous author that is part of the dance of Santiagos, recorded in Erongarícuaro, a town on the banks of Lake Pátzcuaro, on the occasion of the festivities of El Señor de la Misericordia.

The accompaniment of this sonecito in rhythm of 2/4 is done with the endowment of the mariachi without trumpet or “mariachito”.

The Santiagos dance for this event was reinforced by another equal one from Pátzcuaro. It originally consists of 25 little sonnets, whose names are derived from choreographic movements such as: the cross, the entrance to the town, the presentation, the comb, the followed, the greeting, the snail, the machetes, the bow, the polka, the uprising of rows, the pigeon, the snake, the “O”, the basket, the fight, the lasso, the story, the performance, the goodbye and others.

Due to its historical background, it seems to be closely related to the theme of the Moorish dance, although its characters vary a bit, as well as its instrumental accompaniment. The main character is Santiago Apóstol, represented by the director of the dance, dressed in a Spanish costume, with a machete and a wooden horse attached to his waist. This character is in constant motion. Both for the presentation of the characters, as well as for the choreography and musicalization, the representation seems to be related to the Dance of the Lord of the Rescue of Tzintzuntzan.

 

Members:
Alfredo Chávez, five-string vihuela; Pablo Jacobo, first violin; Jesús Chávez, second violin; Jesús Solorio, six-string guitarrón; José Meza, sixth guitar; Alfredo Vallejo, sixth guitar.

Recording date: January 6, 1981.

 

No. 6

ELVIRITA

abajeno

 

Composition by Agapito Secundino Faustino, recorded during the celebration of a marriage in the town of San Jerónimo Purenchecuaro, on the shores of Lake Pátzcuaro.

Due to its organization, it seems to remind us of the original style of the son, played, sung and tapped. Especially noteworthy is the performance sung in the Purépecha language, typical of San Andrés Tzirondaro, a neighboring town where the musicians of the orchestra and the composer come from.

Its basic rhythm is 6/8 and verses are interspersed by percussion accompaniment. Musicians often call this instrumental organization “orchestra”, despite the majority presence of wind instruments. Apparently the difference with the band in this particular case is that a double bass with 4 strings (low volume) and 1 battery, typical of hall orchestras, is introduced.

The composer comes from a family of musicians, his father Tata Miguel Secundino, is a reed flute and saxhorn player.

The theme of this abajeño revolves around a girl named Elvirita, who was the girlfriend of a son of Don Agapito, when he died -being very young and in a marriageable state-, he composed the present abajeño dedicated to the bride and mainly to the memory of his son.

The text in the Purépecha language was provided by the author, the Spanish translation was also provided by himself.

 

TsɅtsɅki sapichu
šánchkari sesi jášika
¿Nari ariuauiski?

¿Nanina úpirini
para p’ikukuajini?
Nótaru modu jarasti

Nirásлnga kétsimani
juchïti amigu
ašu kánchaju is
Juchiti amigu
nirásлnga kétsimani
Elviritani šeni.

Chorus:

K’uinchikua Janónguasti
Tsinaui, tsinaui,
Juchiti malesita.

K’uinchikua Janónguasti
ánimicha andámutanisti k’oru
ari tsatsAki šani
p’untsumika, oktubri
Jimbo anapu
Elvirita šani terékuauka k’oru

 

Little flower
you’re beautiful
What’s your name?

How would I do
to cut it?
But there is no way anymore.

I’m going down my friend
here by the court
my friend,
I go down
to see Elvirita.

Chorus:

the party has arrived
wake up wake up
my little girl

the party has arrived
close to the souls
This flower
October, how beautiful
aroma has
and Elvirita so much that
she smiles.

 

Members of the Orchestra of San Andrés Tziróndaro:
Everardo Gonzalez Cruz, drums; Hilario Alba, four-string double bass; Jose Guadalupe Gonzalez, C plunger trombone; Fidel Vargas Santos, rod trombone in C; Margarito Gonzalez, trumpet in Bb; Robert Gonzalez Cruz, trumpet in Bb; Alfredo Gonzalez Diaz, alto saxophone in Eb; Jose Abel Maria Gonzalez, tenor saxophone in Bb; Efrain Gonzalez Cruz, alto saxophone in Eb.

Recording date: January 23, 1981.

 

RESEARCH, NOTES AND PHOTOGRAPHS BY ARTURO CHAMORRO AND MARIA DEL CARMEN DIAZ DE CHAMORRO

Recording: Manuel Vazquez. Record Publishing Office of the I. N. A.H.
General Coordination: Irene Vázquez Valle. Record Publishing Office of the I.N.A. h.

Secretary of Public Education
Mr. Fernando Solana Morales

Undersecretary of Culture and Recreation
Doctor Roger Díaz de Cosío

Director of the National Institute of Anthropology and History
Professor Gaston Garcia Cantu

Disc Series Director
teacher Irene Vázquez Valle

Constitutional Governor of the State of Michoacán
Engineer Cuauhtémoc Cárdenas Solórzano

General Delegate of the Ministry of Public Education in Michoacán
engineer Diódoro Guerra Rodríguez

President of El Colegio de Michoacán A.C.
Dr. Luis González y González

Mexico, 1981, 1a. edition.