Notes on Tejano Music

Notes on Tejano Music Item Type Article Authors Reyna, Jose R. Citation Reyna, Jose R. "Notes on Tejano music." Perspectives in Mexican American Studies 1 (1988): 33-46. Publisher Mexican American Studies & Research Center, The University of Arizona (Tucson, AZ) Journal Perspectives in Mexican American Studies Rights Copyright © Arizona Board of Regents Download date 25/09/2021 16:25:10 Link to Item http://hdl.handle.net/10150/624784 NOTES ON TEJANO MUSIC Jose R. Reyna The present study is intended in large part to fill a gap in the study of Tejano music which has resulted from neglect on the part of scholars -a situation not unlike that which exists in many other areas of Chicano Studies.Therefore, what followsisprimarily adescriptive treatment of the subject. Although there is also an attempt to discuss the subjectfrom anhistoricalperspective,thatisnottheprincipal consideration at this time, since much more basic research is needed for precise historical documentation. In the future, once a basic framework has been established, more detailed analytical, even polemical, studies will no doubt be undertaken.' The focus of this paper is upon instrumentation and orchestration as distinctive features of the Chicano music of Texas. Other aspects, such asChicanolyrics,individualperformers,groups,dancetradition, comparative questions, and the role of the Tejano music industry are touched upon only briefly,2 for it is in instrumentation and orchestration that we can see the evolution of a strain of music thatisclearly Chicano / Tejano, althoughitis influenced by Mexican and American traditions.It should be stated further that at any given time in this evolutiontherehaveexistedensemblesconsistingofvarious combinations of instruments, some of which can still be found in South Texas. All of these contribute to the broad range of Chicano music tradition in Texas. But at present, there are two types of groups that are dominant -the conjunto and the orquesta or banda. It is the evolution of these two forms which I will examine here. The first to appear as an independent and identifiable type was the conjunto. Among Chicanos in Texas, the term "conjunto," which in Hispanic countries, including Mexico, may refer to different types of musical groups, has come to refer to a group in which the accordion is the principal instrument, with the bass, guitar, and trap set providing the rhythm and accompaniment. Of course, this ensemble is a relatively recent form, that is, the accordion, guitar, bass, and drums did not really - 33 - 34 PERSPECTIVES IN MEXICAN AMERICAN STUDIES become firmly established as a musical unit until the 1940s and 1950s. The exact origins of the conjunto Tejano, as well as of its Mexican relative the conjunto norteño, are impossible to ascertain primarily because of their folk origins. It is possible that the former is a descendant of the latter, which might be a logical conclusion in view of the fact that most Chicano cultural traditions are of Mexican provenience. One problem, however, is that the conjunto norteño has been the unwanted stepchild of Mexican folkloric and popular music, having been eclipsed by the mariachi and other forms considered more representative national types. Thus, it has been and continues to be ignored by the students of Mexican popular music and by purveyors of Mexican culture. The key to determining the origins of the conjunto would seem to be the appearance in Mexico and South Texas of the accordion and certain non -Hispanic musical forms identified with the conjunto, especially in its early stages. For instance, the schottisch (in Spanish, schotis), redova, waltz, mazurka and particularly, the polka -all European instrumental forms introduced during the French period (1864-1867)--were the rage among the elite in Mexico, and by the late nineteenth century became part of Mexican folk music tradition. This assumes further that these forms were also transmitted to Texas where they became equally popular among the folk.3 The same route would have been followed by the accordion, similarly a non -Mexican contribution to conjunto tradition. It is a well -known fact that German immigrants settled in the South Texas /Mexico border area as early as the 1830s, which means that the features mentioned above could have been introduced first in Texas then transmitted south into Greater Mexico. This could be true especially of the accordion. Recent work by Arhoolie Records has added another theory to the origin of the conjunto. According to Chris Strachwitz, the accordion and related musical forms arrived in the Rio Grande Valley area in the latter half of the nineteenth century with German and Bohemian mineworkers, became established there, and subsequently spread north and south from the border area.4 This seems to be the most acceptable conjunto- origin theory. But an important weakness of this position is the assumption that the same form, which is referred to as norteño in Mexico, emerged along the border, then traveled north and south from the border area. Strachwitz concludes, for example, that "we have seen norteño accordion music reach the zenith with the incredible success of the conjunto `Los NOTES ON TEJANO MUSIC 35 Relámpagos del Norte' during the 1960s."5 In reality, `Los Relámpagos' was a conjunto from Northern Mexico (in that sense, a "conjunto norteño") which was distinguished by style and commercial success rather than by substantive contributions to the evolution of the conjunto. As we shall see later, Texas conjuntos reached this stage of development by the 1950s. Among Tejanos in the late nineteenth century and early twentieth century there were a number of instrumental combinations, large and small, which might have included the accordion, bass, guitar, and drums as part of the ensemble. But, rarely were all four included in one group. Elderly informants whom I have interviewed over the years say that these groups were more or less random combinations of instruments and musicians which were in part dependent upon the occasion. For example, large groups were used on special occasions or large celebrations, where marchas were part of the event. It is apparent that acoustics also played an important role in determining the size of the group which would perform. Informants noted that the accordion was not used on these occasions because it could not be heard in large places or from outdoor plataformas, where dances were often held in South Texas through the first half of the twentieth century. My conclusion, therefore, is that in the embryonic stage of the conjunto during the 1920s and 1930s, small gatherings afforded the most propitious setting for the accordion and guitar to become a team. Of these, the cantina ultimately became the most important medium in which the conjunto could develop. This was due to electronic amplification of two relatively mute instruments. Although the accordion and guitar were a team by the 1920s, the present Texas conjunto form was not achieved until the 1940s or 1950s. The drums (or batería), for example, did not become an integral part of the group until the 1940s, although a bass drum was used at times before then. Before the invention of the acoustic bass, the standup bass was also used sporadically. A comparative study of conjuntos norteños and Texas conjuntos would show the typical conjunto norteño did not evolve to this ultimate stage until the 1960s.6 The standard conjunto in Texas at present consists of allfour instruments, each utilized in a prescribed manner. The typical accordion is a Hohner instrument, the most popular type being the Corona.? The use of this model dates back to at least the 1920s, although modern models are more complex than the early ones. 36 PERSPECTIVES IN MEXICAN AMERICAN STUDIES Originally,thestandard accordion was a Vienna or German-style instrument with ten treble buttons and two bass spoon keys, a type which is still used among Cajun musicians in Louisiana. In the late 1920s or early 1930s a 21 -button double -row model was introduced and used by Chicanos until the introduction of the triple -row 31 -button model in the 1940s. The bass keys, which are part of all of the models, have been used only rarely by Chicano accordionists. The most common key signatures are F (Fa) and G (Sol), although the variety of keys depends upon the degree of mastery of the musician. As a lead instrument, the accordion is used not only for the melody line in instrumental pieces such as the polka, but also for introductions, background obbligato, and interludes or solos, especially in vocals. Early recordings dating to the 1930s indicate that the typical accordionist of that era relied principally on a simple one -line melody, which created a very lively sound in faster tempos. But by the 1940s most accordionists had mastered two- and three -line harmonies, which gave the accordion a fuller, more mature sound. In Texas they have continued at this level while at the same time refining thetraditionalintroductions and passages( "licks ").One notable exception to the traditional style of accordion playing is Esteban Jordan. Jordan possesses unparalleled technical mastery of the accordion, and alwaysspicesuptraditionalconjuntotunes with modern chord progressions, and jazz riffs. His repertoire also includes jazz, blues, rock, and standard pop tunes, which he has performed at the Monterey and Newport JazzFestivals.8Unfortunately,theChicano demandfor traditionality is such that in recent years Jordan has been in greater demand for college performances and other "cultural" events than for Chicano dances. Threeotheroutstandingaccordionists,PaulinoBernal,Oscar Hernández, and Bobby Naranjo also emerged but are distinguished by their mastery of the larger Hohner Maestro IV chromatic accordion. All three incidentally have been associated at one time or another with the renowned Conjunto Bernal. With regard to the accordion it should be said that the piano accordion has been used very rarely.

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