So, let’s talk about ‘son’, the strumming patterns in ‘son’. As I was saying to you, there’s is a basic rhythm. And that basic rhythmic cell is… That’s the basic rhythmic cell for ‘son’. The full strumming pattern for ‘son’ is made up of 2 bars. 2 bars, as we say, to complete the sequence for ‘son’. Also… Yes… Of these 2 bars, one is in 3/4 and the other is in 6/8. So I play it like this… It’s…1, 2, 3…1, 2, 3, 4, 5, 6… It”s a combination. It’s like… One in 3/4 and one in 6/8. Like a question and answer? You could say that. It’s done via accents. I could also write both in 3/4, but that’d be more complicated to write and would make the accents harder to understand. It’s not the same if I say… …accenting the first; the first note of this position, the first note at the top. If we do it all in 3/4… It’s not correctly understood or logical within the music. Generally, we accent on the beat (to reinforce the beat order and pattern) – wherever those beats may be, on the 1st, 2nd, 3rd, etc. I never accent against the beat (contra-tiempo). So, it’s easier to think…1, 2, 3…1, 2, 3, 4, 5, 6… Ok, so now we have the basic rhythmic cell. An adornment came about called the redouble, which these days is used a lot. Well, it’s up to whoever is playing. It depends on the ‘son’. If I feel that the redouble fits well at speed, then I won’t just continue with the basic cell. First, I’ll play the basic cell without redouble, and then with redouble so we can more or less see the difference… redouble… The redouble is in the first bar. Let’s play something to understand the difference… …without redouble With redouble… We can see that I play the redouble in the 1st bar, and the 2nd is the same as in the basic motif. This is basic. Anyone who applies themselves to mariachi should know this. And to use it to taste, depending on the ‘son’. I could keep doing this for a while… Or it could be a son that continues with the redouble… It’s fuller and, as you say, percussive. To vary it? To vary. But some sons require that you play lots of redoubles, and others where care should be taken so we don’t ruin the feel of the son. ¿Right? Inside the son genre, there are variations, or styles, to put it another way. There are sections of some sons where if I’m… We call this ‘flipping’ or ‘in reverse’. There are sections where I should follow the melody… If I’m doing this… I continue with son… When it’s ‘flipped’, it’s because the melody is also doing that… To mark it? And when you ‘flip’ it, the upstroke is now accented… You may ask: why not like this?…[accenting the downstroke] …because that would be the same. It doesn’t shine. I do this prepare myself to flip the hand… There are combinations. Some sons use that ‘flipped’ technique, and there’s another one called the ‘little horse’. It also lends itself to the melodies in son. There are different versions, many variations. The [strumming] direction is very important… It’s important, when I study a son, to listen closely to the harmonies. I’m not going to play the basic cell all the time… In that part… I can’t do this… I couldn’t because I’d cut across the melodies. It’s better to develop it… That’s it. …slowly. That’s it. It’s very interesting because each son has its changes. There are 4 sons, within mariachi, that they say – and I would agree – are the best because these – well 3 of them – change the son style 4 or 5 times. They are: ‘El Son del Cuatro’, ‘El Son del Pasajero’, ‘El Son de los Arrieros’ and ‘El Son del Pasacalles’. These include some difficult son styles. Difficult, firstly in terms of the melodies, violins. They’re complicated. They require a high level of musicianship. Harmony. You must have a good hold on the rhythm and carry the son up here because I need to know where to make all of those changes, right? I have to keep adjusting in tandem with the melodies because I can’t just play the standard son style. These are good examples of sons which only a good mariachi musician could play. If you can play these, you have my utmost respect. And different versions of the rhythms are played within the same song? Yes. Depending on which instruments are playing? Yes, the strumming patterns change, the rhythms too. It changes. Right? Let’s see if I can remember… Ok, let’s move further on and I’ll see if I can remember a little part. Ok, that’s in the son. Now, where do all these versions of son come from? That needs to be said. From the traditional mariachi, the old mariachi. They come from there. The old mariachi, the sons, well, they weren’t all that different but, they would always relate to life in the cities, the countryside or in the villages. But I really respect the rhythms. I respect them because I’ve heard traditional mariachi from the older generation that lived in those times, and I’m happy to watch the rhythms that they play. They’re intricate. In those times, there was nowhere to study. It came from them, through composing sons. The old style son is very rich. And many of the little parts used today originated there. So there are particular variations still played today. Researching all these differences within son is really interesting. Because they still apply today. I find it really interesting trying to work them out. As the School of Mariachi, it’s exciting for us that new mariachi musicians can help preserve what is being lost. Right?