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wcerto
Ahonui
USA
5052 Posts |
 Posted - 02/21/2007 : 1:29:28 PM
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have been listening to this mele lately. We have it on several different CDs by a variety of artists -- Makaha Sons, Uncle Moe, Bros. Cazimero, Sunday Manoa, etc.
Of notable distinction is that this mele is in a minor key, but just about anything else Hawaiian I have heard (except for Hawaiian Suppah Man) is not. Anyone have any insight into why? Could it be because it was an `oli then set to music?
Having trouble typing right now because a popoki kolohe is trying to sit on the keyboard and get my fingers (she has extra toes, so she has plenty of fingers).
Mahalo for any insights.
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Me ke aloha
Malama pono,
Wanda |
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Russell Letson
`Olu`olu
USA
504 Posts |
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feoli
Aloha
USA
27 Posts |
Posted - 02/25/2007 : 07:31:17 AM
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Russell,
Thanks for the link.
Frank |
Frank E. Griffen |
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Kapila Kane
Ha`aha`a
USA
1051 Posts |
Posted - 03/01/2007 : 7:07:22 PM
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One thought...
since Kawika is chant based, and chant is more modal, and that often leans towards a minor feel, or minor based modes. Fewer major thirds off the root...more minor thirds, lowered 7ths, plus the usual suspects...4th, 5ths and roots.
Other Hawaiian songs often are more often created/derive more from western European, folk, and missionary musical influences, which, while they may not preclude minor modes, tend to have a preponderence of major scale based forms.
But why analyze...it's all a part of the Good.
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Reid
Ha`aha`a
Andorra
1526 Posts |
Posted - 03/02/2007 : 03:02:54 AM
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Another thought...
There were/are several styles of chant (for different purposes and occasions) and each had/has its own range and structure. You can't say anything definitive about all from knowing about just one.
...Reid |
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Peter Medeiros
`Olu`olu
546 Posts |
Posted - 03/02/2007 : 2:26:48 PM
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Geez, Wanda, I forgot you guys are really in the dark on this piece. "Kawika" as the Sunday Manoa performed it is enigmatic. It is a one of a kind piece. Although the subject of the arrangement and lyrics are from the hula ku‘i chant Kawika, dating back to Kaläkaua's time, this "Kawika" is a new song (derived from the older song but separated by about a hundred years of change). It is appropriate that it comes from the ku‘i tradition, where elements both old and new are woven together. It is perhaps one of the most covered songs in Hawaii.
Even though my forte in research is slack key, I know just enough about hula ku‘i chants where I can be dangerous. There are certain aspects of performance that I cannot address specifically such as chant and hula, because they are not part of my kuleana, but this much I can share with you.
The significance of the song "Kawika" is that it is the one song that heralds the beginning of the Hawaiian Renaissance. It was the first track on an album entitled Guava Jam by the Sunday Manoa. After this album came out the perception of Hawaiian music changed forever. It was arranged and performed by Peter Moon, Robert and Roland Cazimero -- when they were known as the Sunday Manoa. And nowadays these guys don't get any credit for it. They are virtuosos without peer. It is the one song that manifests the old Hawaiian music with the new Hawaiian music.
"Kawika" was carefully arranged as a contemporary song -- it wasn't just flung together off the cuff. The subject matter is from "Kawika", a hula ku‘i form, strophic -- a couplet in classical verse; where A = verse: Ku‘i song = AAAA in form. However, the song becomes contemporary because of a number of factors affecting a change in the form of the song.
1. The opening of the song uses Hawaiian implements in ensemble beating out polyrhythms, or rhythms other than what they would traditionally play.
2. This is followed by Peter's ukulele playing the opening motif of the "Let's Spend the Night Together" by the Rolling Stones.
3. The ukulele than follows with a second motif derived from one of Carlos Santana's riffs from that period of songs when "Black Magic Woman" or "Oyez Como Va" were getting a lot of airplay.
4. The form changes again once the lyrics are sung. When the lyrics are sung in a minor key, they are presented as a verse in chant form. When those same lyrics change to a major key they are sung in response as chorus. The movement from minor to major provides a release of tension in this arrangement. Though it was not the first Hawaiian song to do this, the sheer virtuosity of the playing and singing made everyone sit up and take notice, that this was new and it was very very good.
5. "Kawika" ends with the ukulele instrumental restated in reverse order.
You can look at it as an equation: Where A = verse, B =chorus, Intro = pahu, etc., Inst. 1 = Rolling Stones and Inst. 2 = Carlos Santana.
So the song form is this, it has three movements: Opening, Body and Ending
Opening:
Intro. - 32 bars
Inst. 1 - 8 bars
Inst. 2 - 8 bars
Body: = 90 bars
ABB (Vrs1)
AB (Vrs 2)
AAB (Vrs 3+4)
ABB (Vrs Ha‘ina)
Ending:
Instr. 2 - 52 bars
Instr. 1 - 10+ bars
Wanda, your comments, though well intentioned in regard to oli are not accurate. In general, there are two separate classifications of chant -- mele and oli. The terms mele and oli are not interchangeable, and they are both again subcategorized. Mele is definitely metered --it is used for hula, it has rhythm, and a wider tonal range, and addresses a broader range of subject matter. Oli, on the other hand is used for formal occasions, is unmetered and, as such, is not used in dance, and has a limited tonal range of no more than three notes.
The chant "Kawika" is also known by its first line, "Kaläkaua he inoa" = Kaläkaua is his name. "Kawika" is what is known as a mele inoa, or name chant, in honor of King David (Kawika) Kaläkaua. As for the type of hula, it is a hula ‘ölapa or standing hula. The style of chant is called küö. As a young kid I remember this one clearly got my attention because it was performed at kind of a loud level with the hula done at a moderately fast tempo.
It is perhaps the first chant and hula, that I can remember from the time I was a really young kid. Because my mother was a teacher and I was the youngest kid in the family, during the daytime I spent a good part of my early years in Kapahulu with my uncle Timmy and Lokalia Montegomery who had just retired.
Auntie Montie or Auntie Rose was one of my favorite aunts -- she was the dearest one. She was always trying to look after me even through college. She was one of the few loea -- an expert in hula; and unlike my own house where there was always music; in her house there was always hula. Two renowned dancers and later kumu hula who greatly benefited from their apprenticeship with Auntie Montie and Kawena Puku‘i were Auntie ‘Iolani Luahine and Auntie Maiki Aiu Lake.
Robert Cazimero was a student of Maiki Aiu Lake and had his uniki (graduation to kumu hula) with her Papa Lehua in 1973, along with Wayne Chang (classmate of mine from Kamehameha) and Leina‘ala Heine (classmate of Robert's from Kamehameha). I think Mapuana De Silva (whom you just met in Cleveland) and Vickie Holt Takamine (who graduated from Kamehameha the year before Robert, and teaches with me at UH) were in the Ilima class that graduated about 1975.
PM
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Edited by - Peter Medeiros on 03/03/2007 9:17:19 PM |
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wcerto
Ahonui
USA
5052 Posts |
Posted - 03/02/2007 : 4:11:04 PM
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Peter thank you so very much for educating me. I truly appreciate your wisdom and knowledge. Rolling Stones? Santana? Sunday Manoa really was a "rennaisance" group. It reminds me of the "folk music" rennaisance back in the days when I was a teenager. Young musical groups would take the old folk songs and add some modern touches. Boy, I thought that was grand.
Now, another thing you said really got me excited. Wayne Chang! He is the first Hawaiian man I ever met and talked to in my whole entire life! He is truly the one who got me interested in the music, the history, the `aina, hula, etc. Our very first trip to Hawai`i was on a Norwegian cruise. Wayne Chang was aboard the ship as a cultural lecturer. At the first lecture he gave, it was in one of the kazillion lounges that a cruise ship has, way back at the end of the ship, tucked out of the way. My husband and I were the only ones there to listen to him sharing his mana`o. How wonderful that was. He started with the history of who perhaps settled the Hawaiian islands, with the gods, with the kapu system. We were enthralled, not only by the content but by the beauty of his voice and his obvious love for Hawa`i. When we went to lunch, we told everyone at our table about him and about how good his lecture was. Next day, there were more people at his lecture as he continued on with the arrival of Cook. That day, there was more buzz about Wayne Chang and his lectures. Next time, even more people showed up at the lecture. By the end of the week, his last lecture was in the huge movie theater, and there was not enough room for all the people who wanted to hear him. People were going to the lectures early so they could get good seats up front. He told us about his hula uniki and how he had to absolutely follow his kumu's instructions and about a meal that was secret and sacred. What a coincidence! If you ever see Wayne Chang, please give him our aloha. He truly has changed my life by sharing his mana`o.
On this same cruise, we met a wonderful musician, Charles Nahale. It was the same story with him. He was put to play in a lounge way off the beaten path. There was only me and Paul listening to him. His music was wonderful. He played mostly "lounge" type songs, until we asked him if he could play some Bruddah Iz music. That is all we knew of Hawaiian music at that time. He played "Henehene Kou Aka" for us. Then he played "White Sandy Beach". He was kind and thoughtful. He talked story with us for quite a while. We talked about our cruise trip to Fanning Island. He asked how we liked it, and I told him I was actually ashamed that we went there. The cruise company took over about half the island when the ship was there, and there were signs posted telling the islanders that it was tabu for them to go into the cruise passenger areas when they are on the island. Charles recommended various Hawaiian music for us to listen to, and that is how we got started on our love for ki ho`alu and for that matter, all traditional Hawaiian music.
It is an amazing world! And it is amazing how brief encounters can have such lasting and profound influences.
Once again, Peter, thank you so much for sharing your knowledge so freely. It is truly appreciated.
Me ke aloha pumehana,
Wanda |
Me ke aloha
Malama pono,
Wanda |
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dagan
Aloha
37 Posts |
Posted - 03/02/2007 : 8:34:26 PM
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| Just too jump in, I think Peter summarized the matter very well. Also of note is the song "Wahine Hololio" by the Kahauanu Trio. It also features a beautiful minor to major key progression as in "Kawika." You can find this song on Hula Records as a great album with chanting as well, I highly recommend it: MAIKI: Chants and Mele of Hawai`i. |
www.daganb.wordpress.com
www.paniolomusic.com |
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Mark
Ha`aha`a
USA
1628 Posts |
Posted - 03/03/2007 : 09:12:14 AM
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quote:
The significance of the song "Kawika" is that it is the one song that heralds the beginning of the Hawaiian Renaissance. It was the first track on an album entitled Guava Jam by the Sunday Manoa.
Peter, maybe you can shed a bit more light on this. When I was mixing "Mahala Hou" for Keola (his tribute to the Hawaiian Renaissance) he told me the arrangement was one he'd sung in the choir at Kamehameha. And weren't the Cazimeros choir leaders or directors back then?
But here's the question -- I have a reissue CD of Andy Cummings music (Andy Cummings and His Hawaiian Seranders) that begins with an almost identical arrangement of Kawika.
Here's a quote form the liner notes: quote:
This anthology -- from recordings made in the 1940s -- features Andy Cummings on guitar and lead vocals, Ralph Alapa`i on `ukulele, Joe Diamond on bass, David Nalu on steel guitar, and Gabby Pahinui on slack key guitar.
So I'm wondering if the arrangement isn't older than Sunday Manoa. No disrepect intended... just curious.
Right, just what you need... another research project.
Take care,
Mark |
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wcerto
Ahonui
USA
5052 Posts |
Posted - 03/03/2007 : 10:08:03 AM
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Mark - it was that Andy Cummings recording that first got me into researching Kawika. I usually take a CD into the car stero and play it over and over for about a month while I am driving to and from work and to the DoD contractors that I visit. It is like an intensive learning session for me. I am starting to get excited because I can understand more and more of the lyrics without having to get translations from huapala.org. It is certainly not the same exactly as the Sunday Manoa arrangement, but pretty similar. The link that Russell posted is a very good one. It demonstrates how the mele has evolved over time by playing clips from various artists who did the song. There are clips on there and discussions of other songs, as well. A most educating web-site that Russell shared with us.
For some reason, I thought we had a Gabby recording of Kawika, with Gabby or someone tapping the guitar body to make the rhythm, but I looked last night and can't find anything. Am I imaging it? |
Me ke aloha
Malama pono,
Wanda |
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Peter Medeiros
`Olu`olu
546 Posts |
Posted - 03/03/2007 : 6:15:53 PM
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Hi Mark,
Couldn't get back to you sooner, had to do a lot of university stuff -- which was basically sending out a lot of e-mails and that started at 7 this morning.
In regards to some of your questions I don't have them in front of me right now these are some my thoughts. At that in time the early 70's, there was a lot of Hawaiian music and for the first time showrooms in Waikiki and elsewhere featured Hawaiian music. Before that it was a lot of Tahitian revues. For the youth of that time it was the Hawaiian version of acoustic rock and roll blended in with a lot of traditional music, or for the guys like my father it could also be looked at as traditional Music with some of that new stuff thrown in. Either way it was one of those you guys should da been there and you would know. But then again most of you guys were either not born or were not here in Hawaii.
This took place almost forty years ago, well before the unplugged concerts caught peoples attention. As far as the music from this period of time is concerned for me it doesn't require any research -- I have this info going through my mind or it's close at hand because I was a witness to it and involved in it at a number of levels, either as an artist or working within the business. I've passion for this and it isn't work for me.
Mark, as far as "Kawika", and the Sunday Manoa are concerned you just have to listen to the entire arrangement: the 32 bars in the very beginning of pahu, ipu, kala‘au, ‘ülili is the first clue -- the rhythm patterns of each of these instruments is a far cry from what would be expected of them played in a traditional way. They were presented in a way the drum solos during rock shows were presented in those days -- to create anticipation. Only in the genres of Jazz and rock do you have such extensive exposition and improvisation.
The 8 bars of Tito Puentes/ Carlos Santanas "Oyez Como Va" and the 8 bars of Rolling Stones "lets Spend the Night Together" is the second clue, the ukulele could just as well have been a Les Paul with a stack of Marshalls. That's a total of 48 bars before Robert even begins the first verse.
This is not Andy Cummings arrangement -- that was a straight ahead minor major presentation with steel. The textual body of Sunday Manoa's "Kawika" is five verses in minor and major presentation for a total 90 measures. The ukulele exposition following that is 52 measures plus the 10 bar plus fadeout. Just by comparing the number of measures of exposition versus context (verses), you can tell this is not a mele hula. There are no instrumental breaks or solos in hula, not if you want to live long.
Yes Robert and Roland were in Concert Glee and Hawaiian Ensemble and they were gods even back then. Robert was a director, I don't know about Roland though. Robert still does choral arrangements for the Kamehameha Song Contests.
PM
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Harry Soria
Aloha
USA
9 Posts |
Posted - 03/03/2007 : 8:06:45 PM
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So pleased to learn that our Territorial Airwaves Tribute exhibit for "Kawika" at territorialairwaves.com has assisted your search for the roots of this piece. Our goal is to do precisely that: graphically illustrate how Hawaiian music evolved through the decades leading up to the Hawaiian Renaissance of the 1960s/1970s, and then beyond to this very day. Our desire is to share the recorded history of how Hawaiians have arranged their chant & mele over the years, so that western musical influences can be recognized during the evolution of each piece, through an exhibit edited down to a few minutes in length. We will continue adding more exhibits for your enjoyment.
Mahalo plenty,
Harry B. |
Harry B. Soria, Jr.
Territorial Airwaves
Visit the Territory of Hawaii at:
www.territorialairwaves.com
Your Source for the History of Hawaiian Music |
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