| T O P I C R E V I E W |
| 12toneman |
Posted - 04/21/2017 : 3:37:18 PM
Hi, gang. What would you say are the Top 5 (or Top 10) songs to know when you show up for a kanikapila?
So many songs in the Hawaiian Songbook, where to begin?
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| 15 L A T E S T R E P L I E S (Newest First) |
| sirduke58 |
Posted - 05/02/2017 : 11:28:06 PM
Eh Bruddah Jack
Bummers I couldn't hang out with you on this trip. I saw your message on FB & didn't have the heart to tell I couldn't meet up before you went to Maui. I was so smashed with doing tax preparations & had no free time. Tomorrow is no good either. Got 2 doctor's appointments at 11am & 2pm. Then in the evening I gotta do the Chuck E. Cheese thingy for my god daughter's birthday. I was hoping you were staying longer 'cause I was planning a Mid-May kanikapila to catch the guys from the Gabby Festival 'cause Kevin Brown was asking. That fell through because the 14th is Mother's Day. Gonna move it back to Sunday May 28th to accommodate Ledward. Hopefully I can get Ozzie and maybe Don Kaulia, Peter Medieros & David Kaio to come also.
Planets didn't line up for us to meet up this trip,Jack. E kala mai my bruddah. Safe travels back home, dude.
 Duke |
| slipry1 |
Posted - 05/02/2017 : 6:05:50 PM
Great thread, braddahs (from an unrepentant steeler). This reminds me of the old days on this site! Duke - I'm going back to the Mainland Thursday. What's the chance of meeting up tomorrow? |
| thumbstruck |
Posted - 05/02/2017 : 4:32:44 PM
Earl, da okole no stay lazy. Us guys jus' gotta t'ink ousai da box. Iron sharpens iron. JAM!
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| Earl |
Posted - 05/02/2017 : 06:13:53 AM
Good point Thumbstruck. I have several tunes from taropatch tuning that I have re-worked into F Wahine, just to have a few more songs to play after getting into that tuning. (Five of six strings have to change, so it takes two passes). It is an interesting exercise.
I need to get off my lazy behind and learn some new tunes from my instructional DVD collection. It has been a while since I've done more than maintain my repertoire. |
| thumbstruck |
Posted - 05/02/2017 : 03:44:56 AM
My bad, Duke! I just play'em, I no sing'em. I don't sing Hawaiian out of respect for the culture! Glad you meant what I knew. As far as Zach "defecting", I tell my friends that any music is "money in the bank". He will go back to ki ho'alu. If things get "stale" for me, I try another tuning or figure out a tune in another key in G taropatch. There are always new challenges. Plus, playing behind singers and different instruments adds variety. |
| sirduke58 |
Posted - 04/30/2017 : 1:07:28 PM
My major influences were Gabby Pahinui, Ledward Kaapana, Leonard Kwan, & Peter Moon. I was self taught & learned by ear. My first actual kumu was Kale Bannister who was a student of Auntie Alice Namakelua. He actually wasn't much better than I was at the time but through him I gained a better understanding of what I already was playing. Then I met Ozzie & started studying with him. I learned a few Raymond Kane tunes & a bunch of Sonny Chillingworth (Ozzie's kumu)songs. Ozzie has documented so many songs by tabbing them out. Not only the recognizable slack key icons but also those unknown in most circles. I learn a lot from Ozzie's tabs. He's an awesome composer too. He & I both don't read notation. Mahalo for asking BTW
Small kine correction. It's "Alekoki" and "Henehene Kou Aka" I don't read or speak Olelo Hawaii but I do know the correct titles of those 2. I'm actually 1/2 Hawaiian & get scoldings all the time about not speaking the language.
As far as Peter deAquino and "Salomila" is concerned. Peter is an accomplished ukulele player recently delving into slack key. In this video I see that his alternating bass pattern is not really strict. His parallel 6ths are spot on but the appropriate bass notes are missing at times. One of the most important elements of kiho'alu is the constant alternating bass. That's what separates us from fingerstyle guitar. We play the melody over this bass line & that's what makes it sound, to the untrained ear, like there's two guitars playing. To keep your alternating bass constant there will be instances where a bass note coincides with a melody note. That is when you have to "pinch" both notes at the same time. I did not see Peter execute this technique throughout the song. Also, it's not so much that there's a "mainland sound" vs. a "local sound" It's more about a difference in the song preferences.
The parallel 6ths aka "open/close positions" are the meat & potatoes of slack key. In addition, I use the other various fingerings to embellish, color or add textures to the melody. You could refer to it as supplementation I guess. All slack key guitarists utilize it to some degree.
Definitely pursue singing!!! There are a boat load of great vocal songs with very small patches of kiho'alu in it. I only started singing close to 10 years ago. For almost 30 years prior to that I was strictly an instrumentalist. Had I not ventured into singing I would have skipped great songs like:
"Ku'u Home O' Kahalu'u"
"Wai oki aniani"
"Makee Ailana"
"Hi'ilawe"
"Pu'u anahulu"
"Nani Wai'aleale"
"Royal Hawaiian Hotel"
And many more!!!
Watch TP member Zach Onaga "slackkey808" (Here & on YouTube). He pretty much gave up on playing slack key because he ran out of songs as an instrumentalist. He sings now but he's obsessed with a musician named Shakey Graves. Kiho'alu lost an exceptional player when Zach defected
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| 12toneman |
Posted - 04/30/2017 : 10:44:20 AM
Duke, your post had me listening to music all week. Many thanks, man! A real education. Some questions:
Is there a term or name for the kind of texture where the tune is mostly figured chords accompanying the melody in parallel 6ths on top (like this https://www.youtube.com/watch?v=l1dTMIUvBhs)? Would you say this kind of sound is more of a 'mainlander' type-of-sound? This has been the sound that, up to now, has been what I mostly associate with slack key. But from listening to the guys on your list that are more 'traditional,' I dont't hear it so much. Am I off?
Duke, from checking out your videos, I notice you don't rely as much as other players I've heard on the figured chords/parallel 6ths texture. For example, your Punahele https://youtu.be/GEDI0FNN0wQ. It's like two different musics-- the soothing parallel 6ths texture vs. the energy picking style of the your vids. Where are your influences coming from? I definitely hear the Kwan, Ozzie, and Chillingworth in there.
"Ozzie's D7 accompaniment chord"
Giving away all your secrets, Brudda Duke!
so perhaps think about singing.
baaaaaaaad idea! lol!
"Ulupalakua", "Henehene Koaka", "Alikoki", "Sase Hula", "Livin' on Easy".
added to list!
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| thumbstruck |
Posted - 04/29/2017 : 04:41:23 AM
"Ulupalakua", "Henehene Koaka", "Alikoki", "Sase Hula", "Livin' on Easy", all have similar chord structures. It's good to be familiar with "song families".
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| thumbstruck |
Posted - 04/29/2017 : 04:39:24 AM
Good ideas, Duke! For tunes, I'd also add "Ulupalakua" (there are 2 songs of the same title, learn both). Playing for halau will add to your "backing up" list and build your ear...... |
| sirduke58 |
Posted - 04/28/2017 : 3:40:35 PM
Hey Earl,
You made a very good point. Not everyone knows it but there is a proper slack key etiquette at a kanikapila, especially if you're passing a song around. When someone else is playing the current lead in say the first position it's best that you do not accompany in the same area because you don't want to crowd the lead or clash with what that person is playing. You don't want to muddy up the waters. The lead is the featured player & you don't want listeners to be confused or distracted from what that player is trying to share. Below are a couple of pointers on accompaniment. (Taropatch accompaniment)
1.) Avoid accompanying the lead in the same position. For instance, if the lead in playing in the first position then follow in the 2nd or even 3rd position. If the lead moves up the neck to playing in the 2nd or 3rd position, get out of the way & move to the 1st position.
2.) If you only know the 1st position accompanying chords then play something very simple so it's easy to distinguish what the lead is playing from what you are playing. Simple non-intrusive strumming of the appropriate chords. Simple arpeggio or thumb the appropriate lead bass & brush the strings beneath. Example G or C chords: Thumb 5th string then brush 4-3-2-1 then thumb 4th string & brush 3-2-1 In the D chord:Thumb 6th then brush 4-3-2-1 next you thumb the 4th string & brush 3-2-1 (Note: If you fret the 5th string at the 2nd fret you can brush all the strings & alternate the 6 & 5 bass strings)
3.) "Ozzie's D7 accompaniment chord" Oz told me this chord never clashes while accompanying the lead player. Takes a little getting used to executing this grab but with repetition muscle memory will make it feel more natural.
String-----Fret
6th........Open
5th........2nd
4th........4th
3rd........5th
2nd........3rd
1st........Open
Thumb 6th then brush 5-4-3-2-1 then thumb 5th & brush 4-3-2-1
Alternative option: Thumb 6th & down strum followed by up strum of 5-4-3-2-1 then thumb 5th & down/up strum of 4-3-2-1
***BTW, it works for the 2nd & 3rd position chords also with the exception 3rd & 4th C positions (no appropriate open bass)
4.) Just follow the lead with just the appropriate alternating bass pattern. Example 5-4-5-4,6-4-6-4,5-4-5-4
***Hint:Always be assertive with the 4th string because even if you hit it out of sequence it still works!!!
Great thing about these techniques is that you can use any audio reference to follow & practice with to hone this skill. Pick a YouTube video & practice following. Hope this helps. |
| Earl |
Posted - 04/28/2017 : 04:26:24 AM
All very good comments and suggestions so far. My slack-key journey started with Ozzie's book, then some Keola Beamer tunes from his Homespun video (and at Aloha Camp), then the book that Keola and Mark Nelson did together. Finally I've added a few from other sources like Mark Hanson's book and the Patrick Landeza DVD's, John Keawe DVD's and a few other individual songs like Ray Kane's Punahele and Leonard Kwan's Opi'i Moe Moe. Since many players take a similar journey, you'll end up with some common repertoire this way.
The other thing I try to do is not to just focus on the finger picked aspects of the song as a solo piece, but to be aware of the chord structure (usually pretty simple I-IV-V progressions). That way if I am in a song circle, I can hang back and just strum backup chords while someone else takes a turn "soloing" the actual finger picked version. if they are playing up the neck, I strum in first position, and vice versa. It really helps to know three places to play a G chord, three places to play a C chord, and three places to play a D or D7 chord. |
| Kapila Kane |
Posted - 04/27/2017 : 1:38:48 PM
Also, from experience...and I usually only have a handful of "nervously ready" tunes...
if you only have 2,3 or 4 tunes, and you wait till you get your nerve up...
well someone will sing one of your favorites before you get your chance.
Yours might be better or unique, but once it's done, its' kinda late.
Have a few that are ready. And don't be nervous. Ok, be nervous...but go ahead.
Also, the Playing of slack key is less common, so perhaps think about singing...Ok that'll make you nervous...but at least you aren't having to SPEAK! I mean, Mel Tillis couldn't speak very smoothly--but his singing was smooth.
A suggestion I've wanted to make for Chicken-hearted guitar performers, let's do a version TOGETHER! SAME OR SIMILAR VERSION PLEASE.
I was knocked out a few years back (wasn't everything "a few years ago" ?) and a 30 guitar, HIGH-SCHOOL class (I was subbing), ALL played BLACKBIRD.
Not too badly....yes notes were missed, some missed a few, some missed a LOT, and some were total slackers...the effect was CONTINUITY. IT WORKED.
Some people missed a few notes some of the time, some played most the notes most of the time, some played almost all the notes all of the time, and some played hardly any notes any of the time...And so I WAS FOOLED! At least that time.
All players stayed in the Canoe paddling to the best of their ability, and ended up back at the ranch....downstream, where all music goes.
Of course, it has to be pretty much the same arrangement. And definitely the same tune.
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| sirduke58 |
Posted - 04/23/2017 : 12:11:27 AM
Good observation about the different preferences. Local slackers have a lot of exposure to Ledward Kaapana so his style has influenced aspiring locals most. Influences are much different in Hawaii than on the mainland. In Hawaii a majority of the aspiring slack key are/were influenced by the following kiho'alu virtuoso
1.) Gabby Pahinui
2.) Ledward Kaapana
3.) Leonard Kwan
4.) Sonny Chillingworth
5.) Leland "Atta" Isaacs
6.) Raymond Kane
To a lesser degree Ozzie Kotani, Cyril Pahinui & Sonny Lim. More so the players whose repertoire is on the tradtional style
Aspiring mainland slackers prefer the more contemporary players like:
1.) Keola Beamer
2.) Jeff Peterson
3.) Kawika Kahiapo
4.) Daniel Ho
They also like traditional type players like Ledward, Kwan & Kane. They also really like George Kahumoku Jr because of his music camps. Patrick Landeza is another who plays traditional & is a well known kumu on the West Coast. Many love my kumu Ozzie Kotani because of his instructional books & videos.
I always host visiting slack key players from the mainland. I like to use them as an excuse to hustle kanikapila. So because I've met many slackers from the mainland I know their repertoire differs from the local folk. I think it may be because most mainlanders crossed over to kiho'alu from another guitar genre (many from Bluegrass) so the contemporary stuff is easier to ingest. They prefer more complex chord progressions, etc. It's all good. We all have different preferences |
| 12toneman |
Posted - 04/22/2017 : 4:27:42 PM
Good stuff, Duke. Many thanks!
Hey, you guys don't mess around out on the islands. Judging from your two lists, the Hawaii rep appears a lot more demanding. I realize it's what a player makes of it, but the mainland tunes seem more laid back and melodically driven, while the Hawaii stuff is more rhythmic and a bit more complex. (At least comparing the tunes in these two lists.)
Good stuff, good stuff!
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| sirduke58 |
Posted - 04/22/2017 : 1:58:30 PM
When I first learned "Waimanalo Blues" 25 years ago, it was the same way Chcuky Boy Chock played it with Country Comfort. It was in Drop C capoed all the way up to the 7th fret to the key of G. Not too hard to figure out if you have some understanding of Leonard's Drop C.
Maybe 10 years ago I transposed the song to taropatch & it works really well. I prefer to play it this way now because I have my whole fretboard unlike the Drop C capoed at the 7th fret. I also get a lot more sustain & fatter bass in taropatch.
As for instrumental slack key song to play at kanikapilas, it depends where the kanikapila is. On the mainland popular songs include:
(In no particular order)
1.) Puamana
2.) Ulupalakua
3.) Kahuku Slack Key (Patrick Landeza)
5.) Salomila
6.) Pua Sardina
7.) Isa Lei
8.) Kani Kiho'alu
FYI these are seldom played in Hawaii. People will play along, accompany you but these are not songs usually found in the Hawaii slackers repertoire. Below is a list of instrumental kiho'alu songs always played in Hawaii & part of almost every Hawaii slacker's repertoire.
1.) Ku'uipo Onaona
2.) Opihi Moemoe
3.) Radio Hula
4.) Maori Brown Eyes
5.) Punahele
Hope this helped
Duke |
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