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`Ilio Nui
`Olu`olu
USA
826 Posts |
 Posted - 03/23/2006 : 5:42:15 PM
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Bless the PC users Father for they know not what they do.
Cheap means better???????
Dog |
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slackkeymike
Lokahi
440 Posts |
Posted - 03/24/2006 : 02:47:13 AM
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Well, if you are refering to my post, my answer is that OVERLY EXPENSIVE does not mean better either! 
Mike
From Proverbs (kinda) A fool and his money is soon parted... |
Aloha, Mike |
Edited by - slackkeymike on 03/24/2006 02:48:22 AM |
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Karl Monetti
`Olu`olu
USA
756 Posts |
Posted - 03/24/2006 : 09:00:15 AM
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Well, I resemble that remark! It ain't cheap, but it never crashes, is easy to use,(within my limits of willingness and ability to learn) and never gets viruses. Na na na na na nahhh.
You get what you pay for (Amphibians 3:11) |
Karl
Frozen North |
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Rich_Smith
Lokahi
USA
242 Posts |
Posted - 03/25/2006 : 11:15:22 AM
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As the initiator of this thread I am sorry to see it sink to the level of a pi--ing contest that never will be resolved. I am a Mac lover. Anything I have to say about that will just another log to the fire so I will resist.
One thing I hope we can agree on is that we all love slack key. Lets leave it at that.
Rich |
Rich Smith |
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Mark
Ha`aha`a
USA
1628 Posts |
Posted - 03/25/2006 : 4:04:16 PM
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quote:
One thing I hope we can agree on is that we all love slack key. Lets leave it at that.
Amen to that, brother!
Getting back to the topic, I took a look at the Opihi Moemoe tab. Kinda interesting -- I'm not familiar with Mr Chet's playing of that particular tune, but it appears to bear a passing resemblance to the real thing. (That's a joke, kinda...)
What's missing, aside from the wonderful three against four swing, are most of the variations on the upper strings. But it should get you going enough to be able to listen to the original and fill in the blanks. And it's a heckuva a lot easier to read than 12/8!
I also snuck a quick look at the Led Kaapana tab -- whoever did it did a very nice job on Wee Ha Swing. But what's with the tuning for Salomila??? Is that real??? I haven't had the chance to force my axe into that one yet. It looks scary... anyone tackle it?
Speaking of weird *ss tunings, check out some of the "Lute arranged for Guitar" tabs. Hoo boy, it's a brave new world out there.
Anywho, thanks to all for the (decidedly illegal and probably immoral) link. 
laterz,
Mark |
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Rich_Smith
Lokahi
USA
242 Posts |
Posted - 03/25/2006 : 4:47:56 PM
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Mark, I downloaded the Chet Atkins Opihi Moemoe from itunes. It plays for 3min 12 seconds whereas the TEF tab plays for just less than a minute so there is a lot missing. I still like this arrangement much better than the Anthony Appolito arrangement that can be downloaded from Taropatch. If anyone has the complete Chet Atkins version I hope they share it on Taropatch.
Rich |
Rich Smith |
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Mark
Ha`aha`a
USA
1628 Posts |
Posted - 03/26/2006 : 07:33:38 AM
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Hey Rich -
The best tabbed version of Leonard Kwan's arrangement is the one by Dennis Ladd found in the out-of-print "Slack Key Instruction Book." Pub by Tradewinds Recording. It shows up once in aa while in used books stroes and on eBay -- and our lad Craig has it in his extensive collection.
The tab follows one of the recordings very closely -- and Ikaika Brown recorded a virtually note-for-note arrangement on "Kalo Man." Dennis wrote the tab in 12/8, which gets close to the original feel.
Hal Kinnamon also tabbed out an abreviated version in 4/4 quite a few years ago. That tab's floating around, too.
Just to confuse things, I recorded a fairly demented arrangement as a bottle neck piece called "Opihi Blues." No tab as yet.
Happy playing,
Mark |
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Fran Guidry
Ha`aha`a
USA
1579 Posts |
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Mark
Ha`aha`a
USA
1628 Posts |
Posted - 03/26/2006 : 1:05:03 PM
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quote:
Mark, regarding the tuning for "Salomila," check out "Led Live Solo" liner notes.
How 'bout a hint? I don't own that one.
thanx,
m |
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Fran Guidry
Ha`aha`a
USA
1579 Posts |
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Mark
Ha`aha`a
USA
1628 Posts |
Posted - 03/26/2006 : 3:01:24 PM
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Thanks. Mauna Loa tunings I can understand; I musta read the tuning upside down (or inside out) on the tab, cuz it made zip sense at the time.
m |
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Peter Medeiros
`Olu`olu
546 Posts |
Posted - 03/27/2006 : 05:10:22 AM
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Aloha Gangis,
It's Spring Break and I have some time to write. As much as I admire the late Chet Atkins and his contributions to the guitar, I have a hard time swallowing his version of slack key. It doesn't tell me the story I want to hear when I listen to slack key. And because he is held in such high esteem, whatever he has done on an album has had a broader impact upon an otherwise uninformed buying public, than say perhaps Leonard Kwan. Unfortunately Chet wasn't able to spend much time here, and what little slack key he learned and performed was not as good reflection as I think he may have wanted it to be.
How you make the music Hawaiian is something more difficult to explain. It is easier if you live in Hawaii, because the environment and culture are readily available. The rhythms, voicing and phrasing are tied directly to the culture. The rhythms and tempos used to a large extent in slack key are derived from hula. Slack key himene and art songs not derived from hula also possess these same qualities -- they breathe easily and are not forced.
Does this mean that you have to be Hawaiian or live in Hawaii to play good slack key? The answer is no, but it would help in the interpretation to spend some serious time here as many of you have.
Now, Mark about the maunaloa GCEGAE which you may have though should have been CGEGAE.
You don't always slack the strings in slack key; this is one of those tunings where the strings are raised. In 1971, I was taught this tuning by Peter Moon, and I know this tuning as the high C tuning, even though I will usually play it a whole step lower in Bb where you don't break as many strings. Peter played a lot in this tuning more often than not capoed on the second fret in the key of D. It is typically Hawaiian and is composite by nature, that is, it is made up of two interconnected tunings; taropatch and maunaloa. This is a tuning that you can easily exploit and is great for improvising. It allows you to attack every note on the fretboard. At this point in time only a handful of us play in this tuning.
Ledward and Nedward Ka`apana, and Sonny Lim learned this tuning from Uncle Fred Punahoa. Their repertoire is identical almost note for note. Although it is a composite tuning, they play it in a strait traditional style with the typical tonic and dominant bass patterns and melodic excursions on strings one, two and three.
In breaking down this tuning, the high C has the sweet sound of sixths on strings one and two, which is characteristic of maunaloa tunings but with a twist, you can do a lot more harmonic movement across the strings. The interval relationships between the top four strings -- strings six through three -- in this tuning are the same as those found in the taropatch between strings four through one. The D wahine tuning uses the same interval relationship between strings five through two, but has the characteristic half step twang on the first string when resolving to the root.
The most obvious thing about these tunings is that the chord forms and fingerings are exactly the same between the given set of strings. Similar to standard tuning, the chords are also easier to play across these four strings because the intervals are close together.
High C
String 6 5 4 3 2 1
Note G C E G A E
Interval 4th 3rd 3rd 2nd 5th
Half-steps (5 4 3) 2 7
Taropatch
String 6 5 4 3 2 1
Note D G D G B D
Interval 4th 5th 4th 3rd 3rd
Half-steps 5 7 (5 4 3)
D Wahine
String 6 5 4 3 2 1
Note D A D F# A C#
Interval 5th 4th 3rd 3rd 3rd
Half-steps 7 (5 4 3) 4
True Maunaloa tunings are fairly simple and based in part upon viol tunings. The two highest pitched strings are tuned a fifth apart and lend themselves to a more legato style of playing relying almost exclusively upon movement by sixths. Chords are basically I-IV-V and sometimes II. The chord form is usually a barre or barre plus one or two. However, most examples simply use a two-note chord, i.e., open and closed positions on strings one and two.
C Maunaloa
String 6 5 4 3 2 1
Note C G E G A E
Interval 5th 6th 3rd 2nd 5th
Half-steps 7 9 3 2 (7)
G Maunaloa
String 6 5 4 3 2 1
Note D G D G G D
Interval 4th 5th 4th unison 5th
Half-steps 5 7 5 unison (7)
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Mark
Ha`aha`a
USA
1628 Posts |
Posted - 03/27/2006 : 07:34:08 AM
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Hi Peter -
Always a pleasure to hear from you.
Looks like I have a new tuning to try. I'll stick with the Bb version for now.
cheers,
ark |
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Mika ele
Ha`aha`a
USA
1493 Posts |
Posted - 03/27/2006 : 08:29:03 AM
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Peter,
We could fill a book just with your entries in taropatch.net. As always, it is a pleasure to learn from you.
Mahalo nui loa,
Mike |
E nana, e ho'olohe. E pa'a ka waha, e hana ka lima. |
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Fingerpickin
Lokahi
117 Posts |
Posted - 03/28/2006 : 2:50:13 PM
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Thanks for the explanation, Peter.
Your posts are mind-expanding, to say the least. First time I've ever really understood Mauna loa tunings.
-Lance |
"Hey Lance, try watch." -Ozzie |
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