| Author |
 Topic  |
|
feoli
Aloha
USA
27 Posts |
 Posted - 02/16/2007 : 10:08:50 AM
|
Slack Key Players
The one thing I have not seen in all the instructional books I have - is a song (lyrics) in Hawaiin accompanied with slack key guitar. I feel like that is the last secret being kept. I learned Slack Key from my Grandfather. He played Steel, Slack key and Ukulele. He sang one or two songs in Soprano Voice.
For my son's Senior Project I am teaching him Slack Key. I myself play mostly for my Uncle Delbert who lives in the Hills. I visit three or four times a year and would love to surprise him with a real Hawaiian Song accompanied with Slack Key. I know in many of the DVDs/Videos that I have - Like Ray Kane they sing and accompany themselves. But, there are never any tabs for this or any Lyrics.
If anyone will share - much Aloha from a very watered down Hawaiian.
Frank
|
|
|
Ray Sowders
Akahai
USA
96 Posts |
Posted - 02/16/2007 : 10:36:30 AM
|
Aloha Frank,
Slack key guitar is similar to standard tuning guitar because it has "chords". Example, in taropatch tuning (this is not limited to taropatch) playing the strings open forms a G chord. Some other common chords are C, D7, A, E etc. etc.
When ever I work with a "student" or musical friend, if they do not know what chord base they are playing in, I try to help them understand this. My personal feeling is that folks do not need to understand music theory. But if you play, and sing...spend a little time learning what the chords are in the tuning you play. Once you can do this, there are books with Hawaiian songs and "chords" that are placed over the lyrics. Example "He Mele Aloha", it has LOTS of good Hawaiian songs, with the chords for the user. In the beginning of this book there is also a place that teaches you how to change "keys" so that you may play a song in a comfortable voice range. Even if you like to stay in just one tuning, use a capo, and you can change keys. If the notes are unfamiliar to you, use your guitar tuner and it can tell you the notes.
Bottom line is, I strongly believe that all slack key guitar players should have a little knowledge about what chords they play within, this will open a whole new world to those who have not tried it yet. Believe me, knowing this “musical language” will allow you to communicate with other players you encounter, and you have something in common to share and learn from. Good luck and keep at it! With a little practice you will be well on your way.
Aloha,
Ray
|
 |
|
|
Mika ele
Ha`aha`a
USA
1493 Posts |
Posted - 02/16/2007 : 2:39:07 PM
|
We put together a few Kanikapila Guide sheets. You can find them on this form. They are all you need to play slack key and sing EXCEPT tablature.
http://www.taropatch.net/forum/links.asp?action=showsubcat&id=10
There are six songs there including Hawaii Aloha. |
E nana, e ho'olohe. E pa'a ka waha, e hana ka lima. |
|
|
|
Peter Medeiros
`Olu`olu
546 Posts |
Posted - 02/16/2007 : 4:58:49 PM
|
Hi Frank,
I teach accredited ethnomusicology performance courses in slack key -- beginning and advanced -- and I am also the director of the slack key ensemble at the University of Hawaii at Manoa's Music Department.
Singing and playing slack key at the same time is not a secret that is being withheld from anyone. I taught myself how to do it, although it was a lot easier because I came from a really musical family where it was expected. But it is a difficult skill to master in any genre or with any musical instrument. The main problem I see is that there just aren't that many guys who can teach you how to sing while playing slack key they are rare. So that is the reason why there aren't any instruction books at this time that address this issue. However I will be publishing a methodology shortly that addresses this and other aspects of slack key. It's going through peer review right now.
Singing is a very important part of slack key, I consider it as important if not more important than being able to just play slack key. This is the way that I teach. The words are the means by which the composer tells the story in the song. The slack key accompaniment just facilitates the telling of the story -- it helps set the mood or the emotion in the song.
Slack key played in accompaniment is usually played simply, using kinetic patterns or figures to move the song along and provide a harmonic foundation upon which to tell (sing) the story. The guitar is kept in the background until the end of the verse or the pa‘ani when it comes into the foreground. It is kept simple so that the playing doesn't overshadow the singing and is performed as a compliment to the vocal.
And on another very important level the musical phrasing as played in slack key uses the same syntax as the Hawaiian lyrics. The good players set the guitar up to play a second melody or simple counter point to the vocal line -- they are able to turn a phrase any number of ways. But it is done usually in a way that works with the vocal phrasing through improvisation, changes in dynamic levels or subtle shifts in timing -- pausing, or perhaps creating an anticipatory note – much like the vocal line but something other than the vocal line to catch the ear of the listener. These lines mimic and play with the vocal line.
Send me an email and I can help get you started. The rest is up to you though. |
Edited by - Peter Medeiros on 02/17/2007 1:13:31 PM |
|
|
|
Admin
Pupule
USA
4551 Posts |
|
|
kawika
Aloha
USA
33 Posts |
Posted - 02/16/2007 : 8:25:20 PM
|
I agree with Peter, singing is a very important part of slack key. When I first started learning slack key from Manu Kahaiali'i I also started taking adult ed classes in Hawaiian language so I could sing in Hawaiian. The concept of singing while playing slack key was reinforced by my next kumu Solomon Kawaihoa as being very important. I was inspired enough to sing and play at Hale Makua nursing home once a month for a couple of years. At some point I was no longer inspired and quit performing for the kupuna and from then on I mostly played instrumental slack key. My pronunciation was pretty good but my understanding of some of the song meanings was not. I realized I was (and still am) unable to perform certain songs the way they were meant to because I have memorized the lyrics but do not understand the words and kaona intended by the composer. I do enjoy singing songs I'm comfortable with but I don't feel pono about singing words I don't understand. The bottom line for me is being willing to commit to study and spending time with kumu who can pass on the knowledge.
Kawika
|
|
|
|
Podagee57
Lokahi
USA
280 Posts |
Posted - 02/17/2007 : 08:26:08 AM
|
I'm with Kawika. I won't sing Hawaiian lyrics unless I know, to some degree what I am singing about...and I don't sing in public. It has been an amusing evolution for me. Although I have always admired Hawaiian music and culture - and I thought that the language sounded cool - it wasn't until I started playing slack key that I felt compelled to learn the language. It was a natural progression I guess...love the slack key sound and wanted to learn it...most songs in slack key are written in the Hawaiian language...so, learn the language. It is so nice to have resources such as this site http://www.huapala.org/ to help understand what the songs are about. I find that learning the meaning of the words helps me to actually remember the song as I think about the story that's being told as the song progresses. Keeping a Hawaiian dictionary handy to compare to how the translater interpreted the song has given me a more broad understanding of the language. I guess you could say that I am learning the language through song. I still find myself scratching my head now and then.
Regarding Frank's inquiry, any song can be done in slack key as long as you know the chords and how to position your fingers to play those chords. I believe Mark has some chord charts available to help you figure out how to get certain chords in T-patch tuning. |
What? You mean high "E" is the TOP string. No way dude! That changes everything! |
|
|
|
feoli
Aloha
USA
27 Posts |
Posted - 02/17/2007 : 10:18:17 AM
|
Mahalo Nui,
Much thanks to all who replied. I play by memory - but love to play. I am very excited about Peter's course and wait for it. I am talking about alternating bass - fingerpicking and not strumming chords. I know that is what many or all of you are talking about. But I am not really a musician - I just play what I have seen, or what I have memorized from tab. I will get Keola Beamer's book. I have his Video and his "Learn to Play Hawaiian Slack Key Guitar" book. I do want to learn the Hawaiian Language that my Grandfather spoke. When I was young my Aunties came to visit us - and they all spoke Hawaiian. I want to do that. I want to play for my family. To me it is a journal. I want to tell a story. I want to let them know that I was at this place - I saw it - I heard it - I felt it - Now you see it too.
Aloha |
Frank E. Griffen |
|
|
|
Ray Sowders
Akahai
USA
96 Posts |
Posted - 02/17/2007 : 1:10:41 PM
|
Howzit,
Please note that all chords can be finger picked in "alternating bass pattern style"... maybe easiest in taropatch but again not limited to this tuning, it's just an example. Strumming is not what I meant, but it's up to the player. Sometimes you may use a variety of strums, rolls, picking, or whatever suits the song and mood. Picking seems to work best when playing more traditional styles, and it transitions better into pa'ani when you are playing solo. You will also have to try different bass notes with the various chords. A little experimentation will go along way. I use a similar picking technique in most all tunings...even standard. A hui hou,
Ray |
|
|
|
Kawehipulamahia
Aloha
13 Posts |
Posted - 02/17/2007 : 4:12:55 PM
|
Did you guys listen to Keali`i Blaisdell's and Ken Makuakane CD's they both are playing Ki Ho `alu and Singing...I dunno just trying to help out... |
|
|
|
RJS
Ha`aha`a
1635 Posts |
Posted - 02/17/2007 : 9:49:00 PM
|
I am trying more and more to write less and less, but sometimes I can't help myself.
(Let me give a brief bit of background for folks who haven't read my other rantings, then I will make my point. I've been around playing music most of my life, at least 45 years. I've been into slack key for a few years now. Not sure exactly, but at least more than 9. I can play a convincing imitation of slack key. I do not sing well. I do not sing in public. I play Hawaiian music in public even though I believe that the most important part of Hawaiian mele are the words. At least other players who are much much better than me also play an instrumental now and then. I stopped calling my instrumental playing slack key and now I don't have to worry about those kinds of issues. I guess I have just given people as much reason to take my view seriously as to summarily dismiss it, so on to my point...)
I do not think a person can learn slack key, and probably this goes for any form of traditionally based Hawaiian music, without learning from another person who is already in the tradition. (Doesn't necessarily have to be a Master, but it doesn't hurt.) I think TAB and notation are very very important, but you can't learn slack key from a book or a sheet of music. I don't even think you can learn it from a DVD until after you have worked with a person "knee to knee." You really want to learn to play slack key, instrumental or accompaniment, save up some money and vacation time and get a couple of hours of quality lessons. Then study the books, CD's tapes, dvd, etc. will become trully useful.
Personally, I could not get "it" until I went to Honolulu and sat face to face with a teacher. I also had to work almost weekly with another teacher for many months, but I was, and am, a painfully slow learner. I still need to check in now and then with a good teacher. I take my not playing slack key seriously. I value the knowledge and skill of those who are better than me and I do my best to learn from them. Personally, I learn better individually, so instead of attending a camp, I used my time and money for private lessons. That's an individual choice.
The bottom line for me is that in music, as in learning a language, unless you are a prodigy of some sort, you have to at least begin it in contact with someone who can teach you. |
|
|
|
feoli
Aloha
USA
27 Posts |
Posted - 02/18/2007 : 06:34:56 AM
|
Ray,
I hear you. I was taught knee to knee with my Grandfather. I played with him for many years. He was real old school - born right at the turn of the century and taught by his mother. He played in several bands right before the 20s and into the 1930s. We were lucky - he live and played into his 90s. I have tabbed out songs for my son (but I am sitting with him knee to knee most every night teaching him the way I learned - watch, listen, learn and play and then play again. My father is a painter and sculptor. I learned from him. We painted side by side for many years. I have a degree in Art. I have earned my Teaching Credential in Art; but I still subcribe to Art magazines, I still by Art Books. I still have much to learn. What I am saying - is don't discount one means of learning or sharing knowledge for the other. Tab, Videos, DVDs this Website - are very important teachers too. The desire to learn comes from within - just like the desire to teach.If someone thinks that they can only learn one way - if they think that learning from tab is cheating, if they think that learning from a DVD is copying. Then they are just put down, kept down, kept out of the inner circle.
Frank |
Frank E. Griffen |
|
|
|
RJS
Ha`aha`a
1635 Posts |
Posted - 02/18/2007 : 09:32:12 AM
|
Frank -
Over and over in my posts I have supported and argued for TAB, notation and various forms of recording. I still do and will continue to do so. Not only as a learning instrument, but also as a way of archiving the tradition for the future. I take it a step further and argue that you don't even have to play in public from memory. (You do have to know the songs you play -- but that's not the same as memorizing them. I know a few really excellent musicians with crappy memories.) Printed/recorded material is also important in spreading awareness of the music - I got hooked through a recording and started out with a tape. Most of us non-Hawaiians have done something like that.
Just trying to make the additional point - I think it is almost impossible to learn how to play this music without the "knee to knee" - and anyone really interested in playing this should figure out a way to get some lessons either with one of the fine players stateside or in the islands. |
|
|
|
Reid
Ha`aha`a
Andorra
1526 Posts |
Posted - 02/18/2007 : 12:29:40 PM
|
Sarah and I came to slack key through an interest in the language. Apparently, the opposite of most people. It struck us immediately that even conversational speech in Hawaiian has strong poetic elements. You can almost not be a poet if you speak Hawaiian. Sarah is an accomplished linguist in various languages, and studied them in college in the US and at schools in France and Germany, so it is one of her life's major interests. Then, as most of you already know, we met up with Uncle Sol Kawaihoa and Kevin Brown and listened and learned about slack key. Then, one day, Sarah said, "I can do that". And the whole slack key thing started, mostly as a vehicle for the language, although it has its own obvious intrinsic interests. With teachers, yes, and a lot on her own. Sarah practices slack key most days, but she rarely misses a day studying, reading, writing and singing in Hawaiian. She is quite obsessive about it. In our everyday speech, we routinely use Hawaiian words and phrases. Many TPers (and others) have personal experience of her ability to compose and perform mele and oli. Right now, she is doing something fairly unusual: she has composed a slack key mele, in Hawaiian, about where we live, in CT, rather than a place in Hawai`i. It is done just the way a mele pana should be done. One of the things that strikes me, hard personally, is that, as we age or have an injury, we lose the physical ability to play the guitar well, or at all. But, we never lose the ability to speak and sing until the very end (even if, like me, it comes out as a croak). And, if the language is as beautiful as Hawaiian is, it makes our lives more joyful and meaningful.
...Reid |
Edited by - Reid on 02/19/2007 03:12:56 AM |
|
|
|
rendesvous1840
Ha`aha`a
USA
1055 Posts |
Posted - 02/20/2007 : 4:31:30 PM
|
| In Keola Beamer's vesion of I Ka Po Me Ke Au, he really only plays the bass part while singing. That would be a good place to start, just so you play bass notes that match the chord to harmonize with melody. Later, when you feel more comfortable, you add the fingers. I would only add chord tones with the fingers, not too much melody. If the voice is soloing(singing) , the guitar should only support. Just like playing backup for another instrumenalist. The biggest help I found for learning to hear chord changes was singing.And play with others whenever you can. |
|
|
|
Sarah
`Olu`olu
571 Posts |
Posted - 02/21/2007 : 04:02:17 AM
|
Good advice from rendesvous. When I learn a song, I find it really helpful to match up the alternating bass (or whatever pattern you are going to use) with the appropriate syllables in the lyrics. That's the foundation.
Then fill in what you're going to do between the bass notes, which as rendesvous points out, is usually not complex during singing, and harmonizes with the melodic line of the voice.
aloha,
Sarah |
|
|
|
Topic |
|
|
|
Topic Locked
