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Fran Guidry
Ha`aha`a
USA
1579 Posts |
 Posted - 04/19/2002 : 08:06:22 AM
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Keith Marzullo actually started this topic in another thread, asking for ideas on "second" guitar in slack key. Since I play spontaneous duets in my lessons, I'm throwing out ideas.
In addition to the "stop" rhythm I described in the "Any Suggestions" thread, Patrick often plays simple licks based on the "slack key scale" of harmonized sixths. Since I am usually playing low on the neck, he'll play high, around the 12th fret, and sketch out the chord changes. He does fills and endings based on vamps (V-I turnarounds) and once again "goes where I ain't" on the neck. If I'm playing a first position vamp that ends on the first string G, he'll do a descending sixths vamp that ends at the B above, or he'll use a bass run that goes to the G on the open third string. Not a Flatt G run, however .
There's a Dancing Cat CD called "Hui Aloha" with Dennis Kamakahi, George Kuo, and Cyril Pahinui (and David Kamakahi on uke) that might be a good source of ideas for multiple guitar arrangements.
Fran
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marzullo
`Olu`olu
USA
923 Posts |
Posted - 04/19/2002 : 1:59:54 PM
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hi fran,
i see, that makes sense. i've never tried to figure out what i'm doing when i play backup on bluegrass, but i think it's a similar idea. i think that a flatt ("G") run is a turnaround from the V7 to I. And, when going to a new phrase that starts with IV, i think that the short lick i play is a turnaround from I7 to IV (same interval as V7 to I).
i'll try to apply this book learnin'... thanks! and, i'll keep my ears open the next time i listen to "hui aloha" (my favorite song on that CD is the first cut).
aloha nui loa,
keith
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Bruddah Chrispy
Lokahi
USA
164 Posts |
Posted - 04/19/2002 : 2:57:32 PM
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Aloha kakou,
In the first Keola Beamer book - the one from 1977 - there's tabs for a duet: Pua Lililehua. The book doesn't mention the tuning but I wrote to Keola and he says it's in C Wahine (CGDGBE). Derek and I keep threatening to learn it one of these days.
Aloha a hui hou,
Chris P. |
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Fran Guidry
Ha`aha`a
USA
1579 Posts |
Posted - 04/19/2002 : 3:15:42 PM
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quote:
... i think that a flatt ("G") run is a turnaround from the V7 to I. ...
Look at the notes in a Flatt run in G, G A Bflat B D E D G - I'd say the whole thing is over the I chord, with the A and E as color tones and the Bflat a passing tone. If we were to compare bluegrass, blues, and Hawaiian just on the basis of the chords used for pickups and tags, I might suggest that bluegrass bangs on the I, as in the G run or the repeated "slide into the tonic" that intros a fiddle tune, a blues will go through the V IV I V cycle, and Hawaiian will do a V I.
I love the sweet simplicity of Hawaiian music, and especially slack key arrangements. Cindy Coombs moves through quite a few chords in some of her arrangements, as do several other very advanced players, but two or three chords does it for most of us for most songs. I look at the harmonized scale on the first and third strings, and at the bass notes I play with each of those intervals. The bass note tells me which chord that interval "matches" when I want to sketch out a chord or change. Some of the intervals are delightfully ambiguous, and can "work" as the I or V, depending on the bass note.
Fran
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