Download “Hawaiian Skies” … (continued)

“Hawaiian Skies” … (continued)
Basic Techniques (See Figure 1 on pages 44 and 45.)
Figure 1 is an introduction to some of the basic techniques
and sound of Slack Key. The tuning is Open G (DGDGBD low
to high) and is called Taro Patch Tuning. These “common tags”
or turnaround figures are often used at the end of verses in traditional Hawaiian songs with basic I, IV, and V chords in the key of
G major (G, C, and D7). The major scale fingerings are in open
position and up the neck on the top three strings with alternate pass
accompaniment pattern and intervals of sixths and thirds that can
harmonize melodies and easily move horizontally across the fingerboard. Alternate bass patterns are typically executed on the lowest
three strings while melodies are played on the highest three strings.
Independence of parts is crucial with the melody singing above the
bass.
The two basic songs included in the second half of Figure 1
combine various elements of the style. He`eia is a traditional song
from the late 1800s about the last Hawaiian King David Kalakaua
and his love of surfing. It follows a steady rhythmic pulse rooted in
oli, or ancient Hawaiian chant. Percussion instruments like the ipu
(Hawaiian gourd) are often used to accompany oli and can be
emulated with the rhythmic texture and phrasing on the guitar.
Pahe`e Slack Key is an original composition that I wrote as a study of
legato moving sixths on the third and first strings. I use my left hand
first finger throughout on the third string with the fourth finger on
the high string. The challenge is found when sliding to a melody
note while a bass note is played with the right hand thumb. Try to let
all the notes resonate as long as possible for a connected and smooth
sound. Pahe`e is Hawaiian for “slippery” and sustain is the goal of this
exercise.
The Players
Slack Key is a personal music style. Gabby Pahinui (1921-1980)
is considered the father of modern Slack Key. He led the Hawaiian Renaissance of the 1970s with a renewed passion for Hawaiian
culture and music that continues to strengthen today. His voice
and guitar style have inspired a generation of artists. Other influential guitarist in the tradition have been Alice Namakelua (18921994), Atta Isaacs (1930-1983), Sonny Chillingworth (1932-1994),
Leonard Kwan (1931-2000), Raymond Kane (1925-2008),
Keola Beamer, Ledward Kaapana, Peter Moon, Cyril Pahinui, Ozzie
Kotani, George Kuo, and Dennis Kamakahi. Many Slack Key
recordings have been made of each of these artists. George
Winston established the Dancing Cat Record Label in the 1990s
and was the first to feature solo recordings of many great Slack Key
artists. Since then, Slack Key festivals and concerts have been popular throughout Hawaii, the U.S. Mainland, Japan, and beyond. The
first instructional book on Slack Key was written by Keola Beamer
in the early 1970s. Leonard Kwan, Keola Beamer, Ozzie Kotani,
Peter Medeiros, Ledward Kaapana, and Mark Hansen have also
published instructional books and videos. Keaola Beamer and
42 Soundboard Vol. 40 No. 1
www.guitarfoundation.org
George Kahumoku also run annual Slack Key Music camps that draw
students from around the world.
The best way to get familiar with the different sounds of each
player’s personal style is to listen to recordings. Here is a short list of
essential listening:
The Gabby Pahinui Hawaiian Band (Panini Records)
Pure Gabby (Hula Records)
Gabby Pahinui Rabbit Island Music Festival (Panini Records)
Ray Kane Punahele (Dancing Cat Records)
The History Of Slack Key Guitar (Hana Ola Records)
Leonard Kwan Slack Key (Tradewinds Records)
Sonny Chillingworth Sonny Solo (Dancing Cat Records)
Auntie Alice Namakelua (Hula Records)
Keola Beamer Moe`uhane Kika, Kolonahe, and Mauna Kea
(Dancing Cat Records)
Cyril Pahinui 6 & 12 String Slack Key (Dancing Cat Records)
Ozzie Kotani Kani Ki Ho`alu (Dancing Cat Records)
Hawaiian Slack Key Masters Volume 1 (Dancing Cat Records)
Ledward Kaapana and Mike Kaawa Force Of Nature
(Jus Press Productions)
Notes for “Hawaiian Skies” (See score on pages 46 and 47.)
In 2011, a film starring George Clooney, called The Descendants,
was released featuring a soundtrack of Hawaiian music and Slack
Key guitar. The music of Gabby Pahinui, Sonny Chillingworth,
Keola Beamer, Makana, Dennis Kamakahi, Charles Brotman, Ray
Kane, and many other Slack Key guitarists played a prominent role in
the film. I contributed five songs to the soundtrack including my piece
called “Hawaiian Skies” from my recording Maui On My Mind. The
music editor of the film, Richard Ford, did some editing on the composition, which he asked me to learn and record for a specific scene in
the film. He lowered the key a whole step and restructured the form
so that the piece started at the bridge. I watched the scene a number of
times and got his insights into the story and the character’s emotions.
The score is as it was recorded on Maui On My Mind. It is
in open D tuning: DADF-sharpAD. The right hand technique
varies between block chords, alternate bass, and arpeggios. Some of
the typical Slack Key embellishments and phrasing are used including slides, hammer-ons, pull-offs, and harmonics. I wrote in left
hand fingerings and chord symbols for a sense of the harmony.
In the first measure, the second and third finger lead the chord
up, allowing the first finger to prepare for the barre in the second
measure. I like to use p, i, m, i in the right hand for the arpeggios on
the top three strings in measure 4, though i, m, a, m works as well.
The last two beats of measure 7 feature a traditional Slack Key turn
around or tag phrase. Hawaiian musicians often refer to these as
“vamps,” and use them between verses in vocal songs.
The second theme enters at measure 9 with an alternate bass
pattern in the right hand that is reminiscent of Travis Picking. The
thumb rapidly alternates between the six or fifth and fourth strings