Paul has played guitar and banjo and dulcimer for a long, long time. However, I saw remarkable progress when he took an in-person class at Augusta Heritage guitar week with Patrick Landeza. Sometimes you need the human element, whether from a genuine real life teacher or by playing with others. It is so much easier to watch someone to see how they do it, and to have them right there to ask questions of. Also good to have an independent pair of eyes watching to see what you do and offering constructive criticism.
Has anyone ever done kanikapila over the phone using speaker phone function? Sound would not be high fidelity, but it could be done...it would at least have you playing with someone. I have noticed that Paul does not keep good time when he plays by himself. I think it must be very helpful to have someone else helping you keep time.
Thumbstruck and I agree that music is a communication between people . Cannot jus play by oneself that is like one hand clapping. Music partners and an audience is prerequisite for a good time.
Karl Monetti and I tried to kanikapila by iChat using iSight cameras on our Macs. No go. Too much delay and signal would cut in and out, even with both of us on high speed connections. Perhaps it could be done over the phone, but without seeing each other, musicians miss cues and shared enjoyment. Without Hawaiian musicians where I live, I often jam with fiddlers, bluegrassers, Samoans, etc. just to enjoy making music with other people. Jesse Tinsley
The hard work and talent of artists are rightly showcased on their CDs, but a false impression of music may be apprehended. I learned and learn by playing with others. I was taught that slack key, or any other music, is best as a "group" effort with interchange and sharing.
quote:Originally posted by wcerto Has anyone ever done kanikapila over the phone using speaker phone function? Sound would not be high fidelity, but it could be done...it would at least have you playing with someone.
My husband and I sometimes do this, as he has to work on O`ahu and only gets to come home for weekends.
Thumbstruck and I agree that music is a communication between people . Cannot jus play by oneself that is like one hand clapping. Music partners and an audience is prerequisite for a good time.
I didn't realize I was not having a good time during all my "sessions" playing `ukulele in a tree, or guitar on the beach. - Ah! The waves and wind kept time for me, and the rustling leaves whispered the songs! I guess I had partners and an audience after all! :-)
quote:I have noticed that Paul does not keep good time when he plays by himself. I think it must be very helpful to have someone else helping you keep time.
Actually, time has to come from inside each individual. If you try to get your time from another musician, particularly in a big jam, you may be late -- by the time you hear what's going on and react to it, you've missed the downbeat.
We all are blessed with the best musical timekeepers available: our bodies. We've all heard the cliche "play from the heart." Well, guess what? Your heart does a dang good job of keeping time (6/8, if you really must know.) When musicians play in synch, their heartbeats get in line. Same thing happens when we play to nature's time, like in a tree down by the ocean.. right Lei?
When you get nervous, your heartbeat speeds up... so your time goes away and you play faster. When you struggle through a difficult passge, your heart speeds up but you get disconnected and you might play slower. The secret? Relax and listen to your inner metronome. Oh, and practice the hard stuff until it isn't hard anymore.
One more thing about time: the other big time keeper in our bodies comes from our legs (or, if you wish, our butts. Which is why "shake a leg" means "hurry up." But "shake yer booty" means something else all together.) Walking, running, strolling, etc. is all in a nice duble meter -- like 2/4 or 4/4.
Put that duple meter against the triple meter of your heart beat and you get all kinds of insteresting things. Like swing, f'rinstance. Or, if you add duple and triple meters instead of combine 'em , you get the "odd" meters like 5/4, 7/8, 10/8 and all that groovy stuff.
But, the bottom line is this: like any other musical skill, time can be learned. Practicing "time" is every bit as important as practicing the notes. More important, actually. I've heard many players who could put their fingers down on their instruments in a very complicated, precise way, but it sure as heck wasn't music.
Speaking of 5/4, if anyone wonders how in the world that could sound right, listen to the classic "Take Five" by Dave Bruebeck.
Many years ago I recorded "Hula O Makee" in 7/4. It would take a few beers to get that one out of me, too...
But hula dancers just loved it.
As a gag, a group I played with in the 70's did "Jingle Bells" in 7/4. (1 2 3 1 2 1 2 - there's lots of ways to do 7's, just ask the Balkans) Also one of Tchaikowsy's symphonies (I don't remember which) has a 5/4 second movement, which sounds very 'waltzy'.
A few years ago I played Bass Clarinet in a city sponsored community band. We played a piece of music called "Flight Of Valor" by James Swearingen. The music was written for Flight 93 and was probably the most emotional piece I've ever played. It started in 4/4, then alternated between 6/8 and 2/4 for a while (one measure each) and threw in some 9/8 and 7/8 to add to the confusion. I didn't have time to get into a groove, but had to just count however many beats notated as the music went on. The score even called for a "brake drum" (automotive type).
My downfall is time. I never can do it from printed music. I can read the notes that is hard enough but to count their time value is crazy for me most of the rime. Even if I use a metronome. Someday I'll get it but right now jus hum a few bars and I'll catch it some where by measure 3.
I play a couple of swiefachers, 5/4 and 7/4. The dancers really have to know their stuff. I like to stick to the more conventional 3/4 and 2/4. Less collisions. I'm working on "KHBC".
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Posted - 08/30/2007 : 09:07:14 AM
