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Admin
Pupule
USA
4551 Posts |
 Posted - 02/07/2003 : 1:23:28 PM
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Some of you may recall my attempt 6 months ago to post a second guitar part for Molehu (Ozzie Kotani's book). My initial motivation was to show how a second guitar part might work since many of us learning from books do not have enough opportunity to play with other people. Suffering from this very situation, this may be a case of the blind leading the blind. Nevertheless, I wanted to put it out there after someone had asked, “What do we play when we all learn from the same books and know the same songs?”
Even if you do not have anyone else to play with, you can try playing the second guitar part along with the cassette/CD. I hope it’s a good exercise that may expand your thinking/understanding of taro patch tuning and how a duet might work.
With Ozzie’s permission, I am reposting the tab here… http://www.taropatch.net/download/molehu2.pdf
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Andy |
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Lawrence
Ha`aha`a
USA
1597 Posts |
Posted - 02/07/2003 : 2:11:39 PM
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If I am not mistaken, Donley and Ozzie played a wonderful rendition of this duet when Ozzie was last out here for a Workshop at Gryphon Stinged Instuments. Too bad I had already turned off my Recorder!!
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Mahope Kākou...
...El Lorenzo de Ondas Sonoras |
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Peter Medeiros
`Olu`olu
546 Posts |
Posted - 02/07/2003 : 8:44:56 PM
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Sorry about that, I hit the return key on the wrong page. I think that this is as good a place as any for me to introduce myself. My name is Peter Medeiros, and I've been observing the ongoings on taropatch.net for sometime now -- albeit as an ethnomusicologist from the host culture, a native Hawaiian and fellow slack key guitarist.
As a long time player and instructor from Hawaii, watching this subculture of mainland slack key players develop, to say the least , is very interesting and also of some concern. But basically, I'm finding that taropatch.net provides a good forum for education and getting ideas and information about kiho`alu. More importantly, it provides other guitarists with a a good insight into the art of simply playing for the love and fun of it-- and that is what is at the heart of slack key and slack key accompaniment. And of course you shouldn't have to work too hard to have fun.
In response to the question"What do we play when we all learn from the same books and know the same songs?". What you should do is start from the points you have in common and then start exercising one of the most important elements of slack key -- improvising. However, this is easier said than done because none of the texts that are presently available adequately examine this aspect. This is the one element of slack key that is very similar in many respects to jazz, but uses riffs played through a simpler and predictable chord progression, though is usually limited to one or two key changes (unlike jazz).
If you are wondering how do I get to that point if there is no one to play with? Start simply, 90% of the guitar players I know, do what Andy pointed out -- play against a cassette, CD or MP3. It is expedient and quick and the practice will help your aural retention of the piece;and it will more than adequately help you develop muscle memory in terms of kinetic patterns for both your left and right hands.
Molehu uses only three chords, which is characteristic of most Hawaiian songs written in the kui form(strophic AA) of slack key (the other being through composed AABA, ABA or that which is not strophic). That being the case it is a predictable pattern.
If you examine the opening of Molehu it starts with a simple high D7 run that resolves to G, there are at least five things you can do: 1) not play. 2) play in unison. 3) play the melodic line an octave lower 4) play a harmonic line a 6th lower.5) Or you can also arpeggiate any D7 inversion. The first thing you do is identify the tonal center, that is hold the correct chord or partial chord. the next thing you do is identify where the chord is moving too, is it up or down and to what chord?
In measures 5 and 7 the tonal center changes to C and then moves to G, although in measure 5 the bass is not establishing the root (C) the way it does in measure 7 on the 5th string at the 5th fret. What you would play against this is any inversion of C or a run in 6ths starting at C and ending at G and try not to cover up the harmonics in the last half of measure 8.
Measures 10 through 12 are the ubiquitous Hawaiian turn arounds or vamps as we call them. Once again you have a number of choices as to how you can improvise. If it hasn't been written in stone by the composer that this piece can only be played this way and this way only, you should be able to improvise against this very easily. I do know the composer very, very well, so I'll take the static.
Peter M
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cmdrpiffle
`Olu`olu
USA
553 Posts |
Posted - 02/07/2003 : 10:35:11 PM
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Peter,
Welcome! Your comments are enormously valued. Thank you . It is refreshing to hear your ideas about something so vital to this music.......improvising. Thanks for taking the time to share some of your insight.
Lurk no more! Expound, comment, and make counter-accusations at every opportunity.
All of us on this site are neophytes to some degree. But there is something I've noticed in the short time I've hung out here....I havn't met a person yet that hasn't the love to try to expand this form of music. We all found something that makes the heart sing.
Mike
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my Poodle is smarter than your honor student |
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Admin
Pupule
USA
4551 Posts |
Posted - 02/07/2003 : 10:45:19 PM
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Aloha Peter,
I'm glad you were able to login and post. After you lurked for sometime, I'm honored that you decided to join in. While the most active posters have been based on the mainland to date, it is my hope that TaroPatch.net can offer a place for any level and all slack key players to get together regardless of geography. The more diverse group we can attract, the more educational and interesting it will get. (Just a reminder, check out our registered members' stats.)
Thanks so much for a very informative and qualified post. For me, it is very exciting to have an ethnomusicologist from the host culture, a native Hawaiian and slack key guitarist/teacher adding to the mix. Welcome. |
Andy |
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wdf
Ha`aha`a
USA
1153 Posts |
Posted - 02/08/2003 : 11:50:48 AM
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quote:
Molehu uses only three chords, which is characteristic of most Hawaiian songs written in the kui form(strophic AA) of slack key (the other being through composed AABA, ABA or that which is not strophic). That being the case it is a predictable pattern.
Welcome Peter!
Could you please explain this paragraph?
Mahalo. |
Dusty |
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Peter Medeiros
`Olu`olu
546 Posts |
Posted - 02/08/2003 : 1:41:52 PM
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Molehu uses only three chords, which is characteristic of most Hawaiian songs written in the kui form(strophic AA) of slack key (the other being through composed AABA, ABA or that which is not strophic). That being the case it is a predictable pattern
Hi,
By three chords and predictable, I meant that these songs with a few exceptions use a tonic chord (also known as a I chord) in this case G, a sub dominant chord = C (also known as a IV chord) and a dominant 7th = D7 (also known as a V7 chord). These are the only three chords used in Molehu. The bass notes will usually determine the root of the chord in a tuning that uses an alternating base.
The ku`i form of slack key derived from the hula ku`i songs. Hula ku`i were intended for dancing as a genre and were highly participatory with the audience often knowing the mele (song) and either joining in the hula (dance)or singing along. The ku`i songs and dance are a traditional form within the Hawaiian community and are just as popular now as they were during King Kalakaua's time (1836-1891). As a song form it makes up the largest perecentage of Hawaiian music repertoire.
The ku`i form can be determined by multiple two line verses -- couplets -- remember greek mythology or Shakespeare? Anyway, what is strophic form? It is a song that is made up entirely of verses. Strophic form songs have verses comprised of couplets. Strophic forms do not have choruses. The formula is usually abbreviated this way AA, where A = verse. In slack key with strophic form you will only find variations on the verse.
The other type of song form used utilizes a verse chorus scheme, where A = verse and B = chorus. So the formula would be ABAB, AABA etc. maybe for variation a bridge (Bridge = C) is thrown in -- AABCAB. These songs would have been derived from European models and are known as through-composed. They would have first appeared in the mid nineteen century when the first music teachers were brought in by the Hawaiian monarchy to teach at Royal School and after the formation of the Royal Hawaiian Band. Marches, waltzes and ballads would have been popular then and these song forms also make up a percentage of current slack key repertoire.
Peter M |
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Pops
Lokahi
USA
387 Posts |
Posted - 02/08/2003 : 5:28:43 PM
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Aloha, Peter, and welcome. Thank you so much for sharing your knowledge. It is most appreciated. I hope you will visit with is often.
Peace... |
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Reid
Ha`aha`a
Andorra
1526 Posts |
Posted - 02/09/2003 : 10:43:45 AM
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Aloha kakou e Peter,
Welcome. I bet you are the very same Peter Medeiros who, as Ozzie writes in his book, was Ozzie's first teacher. He writes that `Äwïwï, a piece Sarah and I like very much, was based on an excercise he learned from you. I'll also bet that *we* can learn lots from you (a sure bet, since we already have).
I have two questions that are prompted by your initial post.
1. You noted, about improvisation in slack key, that "none of the texts that are presently available adequately examine this aspect". Is there any chance that you, or somone you know, will address this issue in a forthcoming book?
2. You also wrote "watching this subculture of mainland slack key players develop, to say the least , is very interesting and also of some concern". Would you care to elaborate on your concern?
me ke aloha pumehana,
...Reid |
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Peter Medeiros
`Olu`olu
546 Posts |
Posted - 02/10/2003 : 01:54:10 AM
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Hi Reid,
Yes, I am the same Peter Medeiros Ozzie acknowledges in his book and on his CD's -- he is a good friend and in my opinion has worked hard to become one of the best slack key artists ever. I have known Oz since 1974, at one time both he and George Kuo were enrolled in the same advanced classes -- they are both capable and dedicated artists -- quick studies is the term that I would use to describe them. I actually met George first. I'm sure that he had enrolled with me a couple semesters earlier and later transferred to UH Hilo before returning to UH Manoa.
In regards to your to your question about publishing: The answer is yes, with final editing slated for the end of spring break and initial publication before summer. It is pretty much the same methodology that I have been teaching over the past thirty one years, albeit more refined and graduated in terms of skills development. What Ozzie calls "Awiwi" is an exercise that I called simply exercise 3 -- it is a transcription of an instrumental break of Gabby's when he was still playing taro patch. This is what I expected of my beginning classes thirty years back during what was called the Hawaiian Renaissance.
Nowadays, this would be considered too difficult by my classes because they are not as exposed to this kind of music as those college freshmen back in the 1970's. Nor are they familiar with Gabby (who passed away in 1980), Atta Issacs, Aunty Alice, Sonny Chillingworth or Leonard Kwan. Now, my students are comprised of students born in the early 80's -- incoming freshmen were born in 1983.
In regards to question 2: Now that George Winston has brought slack key to the national and international music market through Dancing Cat and BMG, slack key is going to change that is inevitable. How much it will change is anybodies guess. Right now there is more interest in slack key on the mainland than there is in Hawaii. Eventhough slack key represents a very narrow segment for sales on the national and international scene it is now a visible genre, whereas before George's efforts it was literally out of sight and out of mind for everybody outside of Hawaii. It is now beyond the shores of its host culture, way beyond the spear chucking distance of the occasional disgruntled kumu. My hope is that interest in it will continue to grow, my concern is that it does not change so fundamentally that succeeding generations from Hawaii do not recognize it or its roots.
Peter M
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cpatch
Ahonui
USA
2187 Posts |
Posted - 02/10/2003 : 03:09:33 AM
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Aloha Peter...I think you'll find that a large majority of TaroPatch members are more interested in preserving old-style/vintage slack key (if that's possible for us haoles) than they are in changing it, so hopefully your concerns will be unwarranted. We welcome as much constructive criticism as you care to contribute, however.
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Craig
My goal is to be able to play as well as people think I can. |
Edited by - cpatch on 02/10/2003 03:10:32 AM |
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wdf
Ha`aha`a
USA
1153 Posts |
Posted - 02/10/2003 : 12:26:44 PM
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As Patrick Landeza said: Learn the old style and make the Aunties cry.  |
Dusty |
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cpatch
Ahonui
USA
2187 Posts |
Posted - 02/10/2003 : 1:19:11 PM
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The way I play makes any Hawaiian cry.
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Craig
My goal is to be able to play as well as people think I can. |
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wdf
Ha`aha`a
USA
1153 Posts |
Posted - 02/10/2003 : 1:49:20 PM
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quote:
The way I play makes any Hawaiian cry.
Craig,
Your "Kani Ki Ho`alu" is excellent! |
Dusty |
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Reid
Ha`aha`a
Andorra
1526 Posts |
Posted - 02/10/2003 : 4:50:57 PM
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Hi Peter,
I, for one, am *ecstatic* that you will have a book published soon. As we are 5000 miles away (most of the year) from na kumu, the only real way we can learn is from books, CDs, and videos. Sarah and I have worked hard to make sure that we have everything pertaining to slack key (and other facets of Hawaiian culture) that comes available. Please alert us when it is available.
And, I certainly agree with you that Ozzie is one of the best slack key artists ever. (As well as one of the nicest, most open and personable people we have ever met -not to mention helpful and organized.) He has a fascinating ability, in his compositions, to use musical phrases, that look familiar, in new and unexpected ways that sound new and different. After spending a week with him in Puna, we really wanted him to come home with us and we were so happy to talk with him at Andy and Lynette's wedding dinner about a year later.
As for slack key changing *fundamentally*, nobody knows what the future will bring, but I agree with Craig that most (if not all) of us here wish to learn and preserve the kind of slack key that we fell in love with in the first place. Sarah and I are probably really on the most conservative end of that. Only last night, Sarah was fine tuning the three songs that she sings over Aunty Alice's "figures". 1880, here we come!
Take heart. If you look at what happened to Blues (Delta or Piedmont, or wherever) as played by gifted amateurs and professional *acoustic* guitarists, they really try hard to sound like Rev. Gary Davis or Robert Johnson or whoever their model is. Occasionally, there will be a burp and the Rolling Stones will do "Back Door Man", but we still like Muddy Water's version better, and his is the one we still hear played. As a counterpoint, you may wish to read the article on Wynton Marsalis in this month's Atlantic Monthly. One of the raps against him (not by the author, however) is that his "traditionalism" is killing the market for jazz. A good case can be made for that *not* being so, however. But, it is food for thought.
I guess that ultimately, a musical style is like a language (we just had a discussion about that here) and is fated to change in some ways. Slack key already has, actually, with other genres exerting influences. It is also true that the genie is out of the bottle and there is no way I know of to put it back in. Returning to your book - it is things like that that will help it to remain the art we know and love.
me ke aloha,
...Reid |
Edited by - Reid on 02/10/2003 4:56:20 PM |
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cpatch
Ahonui
USA
2187 Posts |
Posted - 02/12/2003 : 7:26:55 PM
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A quick plug for Peter's CD:
http://www.mele.com/v3/info/2340.htm
Slack key guitar, ukulele, bass, mandolin, tiple, and accordion, all apparently played by Peter (except for some slack key by Ozzie on two tracks).
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Craig
My goal is to be able to play as well as people think I can. |
Edited by - cpatch on 02/12/2003 7:32:57 PM |
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