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RJS
Ha`aha`a
1635 Posts |
 Posted - 03/19/2004 : 01:55:01 AM
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Ted,
On that idea of stringing together a series of licks -
It's certainly what I did at a certain point in my development, but it also makes one song sound too much like every other song.
For me the real challenge is getting into the heart of a particular song and coming up with something unique that captures that song for me, at least for that "period" in my playing. (I've come back to Ku'u Lei Awapuhi three different times with three somewhat different results - part of which is due to increased skills, part to understanding the song differently.) For me it usually takes a long time of "living with the song" to do this - I was working on Soft Green Seas on and off for almost a year before I finally got to what I really liked. On the other hand, I've come to a good place on some pieces within a week or two.
I guess tempermentally I get bored playing other people's stuff - and the real fun is in the arranging (ok, the playing, too.)
I think you make two very important points in that one of the roots of mele is chant, and that so much mele is logocentric - i.e. carried by the words more than the melody or rhythm. Since I am an instrumentalist - that present interesting challenges. But there is also a lot of excellent Hawaiian music which looks to western forms - Ku'u Lei Awapuhi which was discussed above in a few places is a perfect example. These pieces can be a much easier place to wade in. I can't imagine being serious about playing this music without listening to a lot of all types of Hawaiian repetoire - to get the feel, to compare versions, learn repetoire, etc. - to let it sink into my soul. This is especially important for a mainland haole who didn't start absorbing this music in the cradle. (or maybe even the womb)
Finally, for myself, I think it is also very important to keep an awareness of how the music "dances." Live hula is best, but there are great recordings available -- the Merrry Monarch highlights among the best. In fact the entire 2003 competition is available on a CD set for about $50. You'll never play Hi'ilawe the same after seeing/hearing the version from that competition. Hula helps keep me grounded in the feeling of the mele, as well as the underlying dynamic - in my opinion, most Hawaiian music is island music which always has the complexity of living with the sea at its core. Good hula at least helps me get into the "feel." |
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trlau
Aloha
USA
29 Posts |
Posted - 03/19/2004 : 12:56:47 PM
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Ray,
Ditto on all of your thoughts. I think that Ku'u Lei Awapuhi was a perfect example.Ku'u Lei Awapuhi really stands apart in my mind as almost a sub-genre as it is one of the few Hawaiian songs which puts forth a 'lost love' theme.
Some other examples in this group are Ka Makani Ka 'Ili aloha (often translated as 'Love Snatched By The Wind') and Mi Nei (sometimes translated as 'What About Me?').
I would encourage all to visit www.huapala.org and take the time to read the lyrics of whatever song they are working on and get into the kaona (or 'double entendre', allegory, allusory) nature of Hawaiian songs. It can be a bit difficult though. Sometimes songs share the same title. As it turns out, there is a song on the site called Ku'u Lei Awapuhi by Abbey Kong which is not the same one that is usually played nowdays.
Since I so often play while singing or to accompany singers or dancers, my music most frequently puts forth dynamic in concert (no pun intended) with the lyric rather than the music per se.
Gosh - fun stuff huh?
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Ted Lau
(poina 'ole he Hawai'i 'oe)
mailto:trlau @ earthlink.net |
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RJS
Ha`aha`a
1635 Posts |
Posted - 03/19/2004 : 11:31:03 PM
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Huapala site is great - spent a few afternoons just soaking it in.
People shouldn't forget the new book He Mele Aloha, also. Has chords for songs and, I'm told by people who really know, very good translations. |
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cpatch
Ahonui
USA
2187 Posts |
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