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Son jalisciense is a variety of Mexican son music from which much of modern mariachi music is derived. This son relied on the same basic instruments, rhythms and melodies as the sones of Veracruz and the Huasteca regions, using the same string instruments. By the 19th century, Son jalisciense developed to be played with one vihuela, two and a guitarrón (which largely replaced the harp). Modern mariachi started to develop when were added to the ensemble in the 1910’s and 1920’s, becoming a fixture of the previously all-string genre by the 1930s.
Son jalisciense has both instrumental and vocal songs in this form, mostly in Major scale. It is performed by mariachi ensembles. It has an alternating rhythmic pattern in the armonía (vihuela, guitars) and guitarrón. This basic pattern consists of one measure of with the next measure of , known as hemiola. The best known song of this type of son is called "La Negra".
Following the Mexican Revolution, the prominence of mariachi (and thus the son jalisciense which is a fundamental component of mariachi) began to skyrocket. It became a symbol of national pride, and mariachis became a fixture of government events. It was during this time that the music underwent significant urbanization and standardization. Many of the most successful local groups of musicians, such as Mariachi Vargas de Tecalitlán began migrating to Mexico City. It was here that recording catapulted mariachi to be one of Mexico's most popular forms of art by the 1940s.
Throughout this period the typical size of the group grew, with the addition of trumpets and an increased number of violins, usually meaning three or more. They complemented a rhythm section of vihuela, guitarrón, classical guitar, and harp, which still saw occasional use. The 1950s and 1960s are today regarded as a golden age for the style, as mariachi reached its cultural zenith in Mexico, and many of the most popular and renowned sones were written or recorded during this time. Mariachi Vargas was the most popular and influential mariachi during this time, and their albums from this generation live on as some of the defining mariachi recordings.
In the second half of the 20th century, mariachi began to achieve popularity and mainstay status in the United States as well, due to the increasing number of American citizens with Mexican heritage. The first mariachi group in the US was started by Nati Cano in 1961, and since mariachi has only bloomed as both a cultural and academic interest in the states. Linda Ronstadt's 1987 album Canciones de mi Padre, which features several sones jaliscienses became a smash hit, further elevating the prominence of the style in the US and Worldwide.
Most sones in this style feature driving and powerful instrumental sections, often contrasting the sweet sound of the violins with the brilliant harsh sound of the trumpets. The majority of sones jaliscienses also often feature vocal sections, with lyrics that depict life in Jalisco and often talk about specific places.
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