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Admin
Pupule
USA
4551 Posts |
 Posted - 02/05/2004 : 11:04:11 AM
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I have a question about key signature. Medleys are so common in Hawaiian music. There are so many songs that go well together, both musically and lyrically. This fact and my lack of music theory bring be to these questions:
I'd like to know, when joining two songs, are there musical rules governing what key each song is played in. That is, do both songs have to be in the same key? If not, and you modulate into song #2, is there a necessary musical relationship between the key of song #1 and the key of song #2? My guess is that you should not arbitrarily choose. If there is a rule, what is it? What's the relationship that makes it "sound" good to the ear?
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Andy |
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Darin
Lokahi
USA
294 Posts |
Posted - 02/05/2004 : 1:17:08 PM
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Hi Andy,
"I'd like to know, when joining two songs, are there musical rules governing what key each song is played in. That is, do both songs have to be in the same key?"
No, both songs do not have to be in the same key (unless you're tuned to a specific key like G Taro Patch).
"If not, and you modulate into song #2, is there a necessary musical relationship between the key of song #1 and the key of song #2?"
Yes, most of Hawaiian music is in a "major" key. The quickest method to transition into another key is to play the "five" chord of that key. The "five chord" is based on the fifth note of the scale. If you are in the key of C, the "five" chord would be "G7" because C is 1, D is 2, E is 3, F is 4, and G is 5. Thus, the "five" chord in the key of C is built on G.
Example, if the fist song is in the key of F, and the second song is in the key of G, the transition chord to the new song would be D7. Again, in the key of G, the G is 1, A is 2, B is 3, C is 4, and D is 5.
You may begin to notice that that bulk of Hawaiian music is built on the "one" chord, the "four" chord and the "five" chord. For example, in the key of C, C is 1, D is 2, E is 3, F is 4, and G is 5. Most of the chords in a song in the key of C are either a C chord (the "one" chord), an F chord (the "four" chord), or a G (the "five" chord)
take care,
Darin |
Darin
http://www.hawaiiguitar.com/ |
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donkaulia
Lokahi
249 Posts |
Posted - 02/05/2004 : 1:34:30 PM
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Andy,
No need worry 'bout the technicalities of theory in music. Let's say the Molokai song by Malani Bilyeu...by the way you do that 'very well'. In the key of D and you want to collaborate that with another song like...C&K's Home in the Islands in the same key of D with the same tempo...this will sound great because the the mood, music tempo (slower for Home in the Islands)
and the lyrics combined have the same 'plot'. You can color the song between transition from Molokai to Home in the Islands by modulating from D to E and really beef it up by going to F in the last stanza before the song ends. To answer your question, yes you gotta 1)test the waters to see if it fits in or sounds good musically and lyrically 2)theory plays a role BUT...I say BUT because in modern music today theory has been tested and challenged in ways to benefit the artist's own signature. This is a key to an artist with a different cutting edge over the other artist. You'll find this in classical and hiphop music today. Hawaiian Music, standardly is the BASIC 1,3&5 theory with an empasis vamp of 2. For example, in the key of C the numbers would be C, F & G and number 2 would be D. Hawaiian Music basically was built around this theory in the 1800s prior to the start of country, blues and jazz. I believe that the Hawaiian Music in collaboration of the Spaniards created this theory just by simplisity in pure form. C, F & G7 with the D7 as a vamp was simple and sounds good to the ear. Thats what you hear in slack key music, taropatch G is G, C, D7 (1,3,5) and A7 (2). The rule is to play, feel and then judge it by having someone else listen when you start creating. You are actually creating when you let yourself freely utilize the different keys or patterns you play in. The best example is to listen my CD, the Kealakekua trac#2...I used the basic pattern in Taropatch G..135(G,C,D7) and introduce a 4 (Bm) to color the song, then I modulate to 3 (C) and stay in that frame of C to F (1 to 4) then go back. When you look at this theory, it wouldn't be in the textbooks nor would the college professor accept it because it isn't textbook theory, however, it is what I call 'creativity'. You should not arbitraily choose any rule...just do it, play it, test it and if it sounds good...the walah...you got a sound like no other.
Go for it Andy...we need more of you to make new music. Afterall, when you go back to the days of Pahinui, he was the trendsetter of his time 1970s. Well my grandpa Puni played in the 1920's and he was a trendsetter of his time. It is always creativity. In my case, I was fortunate to meet Gabby, Fred Punahoa, Sonny Chillingworth, Atta Issacs and Leonard Kwan...they all emphasized on one common advice...play, feel and create your style. When you think about this and look at the way each of them play 'Opihi Moemoe'....all you hear and what I was fortunate to see...was their own style and creativity.
Aloha Andy...keep up the slack key...it's an indigenous art that is just about explore in this world.
Donald Kaulia
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donkaulia |
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Mark
Ha`aha`a
USA
1628 Posts |
Posted - 02/05/2004 : 3:08:27 PM
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I used the basic pattern in Taropatch G..135(G,C,D7) and introduce a 4 (Bm) to color the song, then I modulate to 3 (C) and stay in that frame of C to F (1 to 4) then go back.
If you are in the key of C, the "five" chord would be "G7" because C is 1, D is 2, E is 3, F is 4, and G is 5. Thus, the "five" chord in the key of C is built on G.
Ahh, the nice things about standards is that there are so many of them....
OK, so who's right? Probably both, and for different reasons. I'm afraid I don't know the basis of Don Kaulia's numbering system...
The "Nashville numbering" system of naming chords based on their scale relationship to the song's key gives you these chords in the key of G: 1 = G maj, 2 = Am, 3 = Bm, 4 = C maj, 5 = D maj, 6 = Em, 7 = F# dim.
I've played tons of gigs with pick-up singers who used hand signals to flash us the chords... at least, I'm assuming that upraised middle finger meant go back to the tonic after my solo 
I prefer to use a system w/ Roman numerals that's common to jazz players, as it really helps avoid confusion as to the "flavor" of a chord. So a ii V/ I would be Am - D7/ G while a II V/ I would be A7 - D7/ G. There's also a set formula for what kind of seventh each chord gets, but that's another topic...
As far as arranging and modulating... the safe way is to stay with related keys -- usually moving either in fourths or fifths.
So song #1 is in G; song # 2 is in C -- you reach it by playing a G7 as the final chord of song # 1 (G7 = the V of the new key).
Moving up a 5th gives song #1 in G, then an A7 chord brings you to song # 2 in D.
Both of these kinds of modulations are very common in slack key.
You'll also hear modulations up a couple of scale degrees .. say from D up to E, particularly as a way to build excitement in the final chorus of a vocal. (This is Country Music 101 -- sometimes they'll just keep going...and going...
BTW: You'd write out each modulation in its own key. Songs that modulate internally, like "Waikiki," will be written in the main key, then you'll get a key change for the bridge (from G to Bb, if memory serves) then back. Jazz guys love modulating... sometimes every couple of measures.
The bottom line? Like Duke Ellington said, "If it sounds good, it is good."
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Admin
Pupule
USA
4551 Posts |
Posted - 02/05/2004 : 3:48:16 PM
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Wow, thank you everyone! I'm impressed that I followed what each of you wrote. I really appreciate it.quote:
the safe way is to stay with related keys -- usually moving either in fourths or fifths.
Is it safe to assume the fourths or fifths mentioned here is the same relation to I, IV, V?
I know that Hawaiian music often uses the country 101 method, say from D to E. Hawaiian songs sometimes keep going too.
I'll experiment. If song #1 is in F, I can try going to G for song #2? (ala country 101). But if I'm going a fourth or fifth, I'd try the key of B or C??? |
Andy |
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RJS
Ha`aha`a
1635 Posts |
Posted - 02/05/2004 : 4:05:15 PM
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Andy,
Here's my take -- I play a lot of medlies -- It's one of the easiest ways for an intrumentalist to deal with music with short melodic patterns that repeat a lot, where the variety and spice comes from the words. Can get boring instumentally, so you either come up with lots of variations or start using medlies.
Some specific thoughts:
The reason for using the V7 chord of the key into which you are moving as a "bridge" is that over centuries, people's ears have liked that sound. That's why it is formalized into a "theory" Even at that, you don't always have to play the whole chord, or play it as a chord - one or two notes work. Do other "bridges" work - yeah sure -- so experiment till you find something that sounds right to you for the piece you are playing. The V7 is a handy fallback.
Do both songs have to be in the same key? No, not even in Taro Patch. I sometimes play keys of C, Gm and D in Taro Patch, even done an F or two, you just have to watch were you "voice" the songs. But I think there's a simpler way of dealing with the key issues -- I get the melody down really well by humming it at first. Then I try to hum it with different starting notes. This amounts to using you ear and intuition to transpose. I then place the melody where I want it on the fret board and fill in the chording. Typically I first start with simple harmonies -- parallel sixths, triads -- If you've got the right melody note, which you know from your humming, but it doewsn't "sound right," that usually means that you're using the wrond chord underneath it. Typically I find that in Hawaiian music I autromatically fall into the I, IV, V pattern of the key I'm in. After that I start to experiment with add on notes, like te 9th, etc. -- A lot ofd this can also be trial and error, or you can use a book of chord charts. Sometimes you have to try some different voicing on the fret board, sometimes some different starting points, different keys. If you can keep from getting uptight and result oriented, it could be a lot of fun experimenting.
As to medlies -- I do something different when I play for myself and when I play in public. For myself I try a lot of different things, not worrying about meaning, context, etc. Lots of times I rty to contrast different styles, feelings, etc. For public, I check out as much as I can about context and meaning so I don't look like a jerk to someone who might know this music.
Like everybody is saying -- this is one for great experimentation -- check your critic at the door and just play (like sandbox stuff) plenty time for critic to come in and lend a hand when you start to "formalize" a piece.
Raymond Stovich
San Jose |
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