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Kapila Kane
Ha`aha`a
USA
1051 Posts |
 Posted - 09/22/2011 : 08:09:55 AM
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Thinking of: F, C, E, G, C, E.
I've talked about this some, but haven't seriously tried yet, and will need to lighten my 5th string Gauge, (or do it lower and capo--a probable approach, since I want to move back to my tunes in taropatch and C tunings...-- , to lighten up the 5th string stress on neck.
but would love to hear or see some ideas (and materials?) maybe similar to what Peter M. did on the Gabby C tunings in his book!
Now tha's what I call Dream Slack Key...bit of an extreme wish list!
But anything might help to get my interval pairs and patterns going...my initial reaction is brain-freeze and fear!
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Peter Medeiros
`Olu`olu
546 Posts |
Posted - 09/22/2011 : 2:05:10 PM
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Gabby’s F tuning (FCEGCE) is almost the same as one of Gabby’s Open C tunings (GCEGCE), with the root bass now on the 6th string which then makes the C bass on the fifth string the dominant bass. Note, Atta’s C (CGEGCE) is Gabby’s tuning with the bass strings inverted to the low C & G used in Drop C tuning. Atta learned this from Pops.
In slack key, all open tunings (major chords) are ho‘oku‘u tunings. Furthermore, slack key tunings, which require fingering for the root chord in first position, are ho‘opa‘a tunings. The open C tuning is a ho‘oku‘u tuning – the guitar is tuned to a major chord and the root chord does not require fingering. Gabby’s F is a ho‘opa‘a tuning and root chord requires fingering, (in first position, 1st and 4th string held at fret 1 and the 3rd string at fret 2; or second inversion with a simple barre at the 5th fret strings 1 thru 4).
Simply play a parallel scale on two strings and you will find that the string pairings are not difficult. The pairings are going to be closed and even on 1&3, then invert the slant position (closed) 2&4, 3&4, 4&5.
Best leading tone phrase: A to Bb (hammer or slide 3rd string 2nd to 3rd fret) this is the dominant 7 chord. Follow with C on string 2. Then play E to F (closed position) on string 1 (hammer 1st string open to 1st fret) this is the root chord. Followed by C on string 2 then A 2nd fret string 3. This is a steel guitar lick.
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Edited by - Peter Medeiros on 09/22/2011 2:13:46 PM |
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Fran Guidry
Ha`aha`a
USA
1581 Posts |
Posted - 09/23/2011 : 03:54:36 AM
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quote:
Originally posted by Kapila Kane
Thinking of: F, C, E, G, C, E.
I've talked about this some, but haven't seriously tried yet, and will need to lighten my 5th string Gauge, (or do it lower and capo--a probable approach, since I want to move back to my tunes in taropatch and C tunings...-- , to lighten up the 5th string stress on neck.
but would love to hear or see some ideas (and materials?) maybe similar to what Peter M. did on the Gabby C tunings in his book!
Now tha's what I call Dream Slack Key...bit of an extreme wish list!
But anything might help to get my interval pairs and patterns going...my initial reaction is brain-freeze and fear!
One trick to consider, drop the whole tuning to B Flat.
E flat, B flat, D, F, B flat, E flat
Now you're in a "slack" tuning instead of a "tight" one. This is the approach Ledward uses when he plays Uncle Fred's C tunings which are also tight on some strings. The overall pitch is lower, but all the relationships and thus the "inners and outers" are the same.
Fran |
E ho`okani pila kakou ma Kaleponi
Slack Key on YouTube
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Bill Campbell
Akahai
USA
90 Posts |
Posted - 09/27/2011 : 05:36:02 AM
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Being a music purist, it seems strange to me that 'Gabby's F' (or anyone else's F) would consist of an open chord without the 3rd (A), but including the 2nd (or 9th), G, and also the major 7th, E. Whenever the 6 strings are strummed together with this tuning, the resulting sound is certainly dissonant, unlike Taro Patch, which has all 6 strings tuned to one of the 3 tones in the major triad of G, B, D.
All the talk of these offbeat tunings reminds me of something that Ozzie Kotani told me a long time ago. He said that, when he was learning to play slack key, he asked Sonny Chillingworth if he should spend time on some of these odd tunings. And, Sonny told him, 'Yes, after you have learned to play every song that you know in Taro Patch tuning'. A man after my own heart. |
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Kapila Kane
Ha`aha`a
USA
1051 Posts |
Posted - 10/06/2011 : 4:30:57 PM
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such good stuff...
but to get out of taropatch, and emulate some of the original sounds is a goal.
If Peter ever writes an addendum to his great book, I vote for some Gabby's F and others.
The leading tone stuff is useful, even if it's a bit different and odd to look at at first. it really does apply.
and Fran's stuff on lowering the pitch is along the lines I think...and with a capo would allow tackling original riffs and ideas, as they were done.
Yes, I understand Ozzie's words from camp to learn as much as you can using Taropatch, and am not against it.
And, indeed, I love Jeff Peterson's Canon in D, ( actually Pachelbel, not Peterson), played in
Taropatch tuning!
But I believe the original was done in G'DAE, ( the Australian and Mozart taropatch).
Meanwhile, If I only do tunes in the "taropatch' versions, I will never go beyond my anemic approximation of the originals!
And after 6 years in taropatch, I can approximate till the Paniolos go home, which is right after I start playing.
So, When I do Beethoven, I really don't want to do it in taropatch, unless HE did it in taropatch!
G,G,G, Eb!
So, guess I'll take the Fifth on this one.
oops, I'm hungry, guess I better go...
Yo Quiero Pacho-Bell.
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Edited by - Kapila Kane on 10/06/2011 4:36:18 PM |
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rendesvous1840
Ha`aha`a
USA
1055 Posts |
Posted - 10/07/2011 : 07:43:39 AM
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If you sing, you find that one key is not sufficient to accommodate your vocal range. Some songs will need to be moved to keys you can sing comfortably. If you jam with other players, you need to be able to play in other keys, at least enough to play backup for them. You don't always need to be in the same tuning, but you need to be in the same key. A capo can only go so far up the neck before it gets in the way. You may not need to use obscure tunings, but a few different keys need to be available to you. Ozzie plays in more than one tuning, although he has said he is still finding new things in taropatch all the time. It has a lot to offer, just not everything that is available.
Unko Paul |
"A master banjo player isn't the person who can pick the most notes.It's the person who can touch the most hearts." Patrick Costello |
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Peter Medeiros
`Olu`olu
546 Posts |
Posted - 10/08/2011 : 05:44:13 AM
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| The second book, volume 2 -- the anthology, which should be available the end of this month does not include any songs in Gabby's F tuning. There are very few recordings of Gabby playing in this F tuning. Although you can play any traditional Hawaiian song in any slack key tuning recordings of this F tuning are rare. I guess if I had the time I could create a few arrangements, it's not that difficult.PM |
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Kapila Kane
Ha`aha`a
USA
1051 Posts |
Posted - 10/10/2011 : 08:22:34 AM
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I totally slipped into my old "instrumental" mind.
Of course we change keys for singing a song in the best zone.
Also, to give a new twist to standards and go exploring and creating new combinations and voicings.
But on the other hand, I don't just want to"throw paint on a wall" and and say, "That's my style man"!
Anecdotally, A friend saw a Picasso exhibition in New York many years ago. And a great collection from throughout his life and phases of growth was gathered, and presented in chronological order.
My friend said his still life--from his early years, looked like a photograph!
The guy could draw, and then needed new frontiers and to break the old boundaries/constraints.
Me, I just want to direct, maybe splash some paint on a canvass, and also play slack as best I can.
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Edited by - Kapila Kane on 10/10/2011 08:23:10 AM |
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Gabby's F?
