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Originally posted by thumbstruck

Slipry1 and I hope to be at the January Kanikapila.

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Hope my a**! Only a major disater 'll keep me away!

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The Magical Kanikapila Capo

Last Sunday Nov. 29th at our Kanikapila on Red Hill I was looking around at the circle of musicians
in attendance. 2 of them in particular who coincidently were women, namely Carmel & Kendyl(Both are TP members) were both quite often lost when trying to accompany whoever had the lead for a particular song.Both
women are usually only comfortable in Taropatch when slacked in addition to standard tuning.
Normally at kanikapilas, whose ever turn it is to lead announces what key the song will be played in
to help others figure out how they will accompany the lead.

I can totally relate to that lost feeling Carmel & Kendyl felt because I experienced the same thing
when I played at an Abrigo kanikapila at Pizza Bob's in Haleiwa way back when.Songs in the key
of Gmaj & Cmaj were no problem I could stay slacked in Taropatch & Drop C which meant all my
chops in Taropatch & Drop C were available to me to pa'ani or just add a little color... Now here's
the problem.....Song leaders started doing songs in A or F or D or Bb and everthing in between!!!I
got so frustrated & defeated that I gave in and tuned my guitar to "Tight Key" (E-A-D-G-B-E) and I
became a banana rhythm strummer in that muffled standard tuning. Your guitar doesn't resonate
as much in standard as it does in slack.

Now I'm more comfortable accompanying is most keys and all it took is a "Magical Kanikapila
Capo" & sliding back & forth between Taropatch & Drop C. Here are a few examples to help you
along when you're at your next kanikapila............The following are common keys you'll encounter.

Played in key of.................................Tuning....................................Capo fret #

Amaj.................................................Taropatch....................................2nd
Bb.....................................................Taropatch...................................3rd
Cmaj..............(To add color)................Taropatch...................................5th
Dmaj..................................................Drop C.......................................2nd
Dmaj...........(*Possible but junk)...........Taropatch...................................7th
* Junk because it takes away too many frets and shortens your guitar not to mention the sustain
Emaj..................................................Drop C........................................4th
Fmaj...................................................Drop C........................................5th

Note: Any slack C tuning can be used in place of Drop C, however for Drop C only 1 string needs to be
retuned when you slide back & forth between it & Taropatch. The last thing you want to do is spend most of your time at the kanikapila retuning

Simple concept just think of the 1st fret after your capo as the 1st fret when you guitar is not capoed.
Use all the same chord shapes, positions and chops.......Being that until recently I had seldom
played.with other musicians this concept may have been common knowledge to the kanikapila vets
but it's only recently acquired knowledge to me.

Another kanikapila tip I have courtesy of Ozzie Kotani is about the art of accompaniment during
kanikapilas. When another player has a "Pa'ani" you do not want to be in the same position or
neighborhood where the "Pa'ani" is being executed. For instance,if a solo is being played in the 1st
position a conscientious accompanier will play in the 2nd or 3rd position so as not to "Crowd" the
soloist and cloudy up what that person is doing. It also compliments the soloist much better.

Hope all this helps players participate much more often. Being a wallflower at a kanikapila sucks
bigtime compared to being a part of it all.............

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