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    Hawaian Guitar

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    he " , Ts Campy Tt ee ~\ \ eS ET BEL) \\Ledward Kaapana \ i D ; Slack iy, Gere By Prok eoser “Masters of Hawaiian Slack Key Guitar Published by: > ACCENT ON MUSIC PMB#252, 19363 Willamette Dr ‘West Linn, OR 97068 USA E-Mail: info@acceatonumusic.com ‘Website: www.accentonmusic.com ‘A ghes essed, No pr of his bok may eros or ans nay format of by any mean clos mechani lain Pes A a susan nora an ees em wihour wren permis from the autos ect fot he inrion of Wrst rss OE errr negated, al contents inching cover artwork, copyright © 2001 Accent On Music, All Rights Reserved Sound Recording Copyright © © 2001 Accent On Musi, Al Rights Reserved Copyright notices ofthe individal pieces of mise are lved on the opening age of xh tne “Arise photos (except Mark Hanson) courtesy of Dancing Cat Records. Chillingworth, Pahinui, Kwan (David Cornwell), Hans (Mike Huibreats)- Photo credits; Kaapana, Kane (Paul Schaub); + © Copyright 2000 Photobise Ine Cover photo of Goodall Guitar Copyright © 2009 Jamns Goodall Guitars Cover photo of suns Digital Imager 123456789 10- Fis Printing 2001 Prineed in he United Staes of America Library of Congress Catalogue in Publiaton Dats Hanson, Mark D. 18 Masters of Hawatian Slack Key Guitar 1. Guitar Methods Sellnstruction I. Til SBN 0-936799-20-X Paperback with CD -F Table of Contents Page wake 12 16 22 29 30 36 42 48 Introduction Taro Patch Tuning (Open-G) Slack Key Fingerpicking Patterns Taro Patch Tule Introductions “La Paloma” “Nanea Kou Maka I Ka Le’ale’a” “Moe ‘Uhane” (“Dream Slack Key”) “Ho'omalu Slack Key” “La Paloma” “Nanea Kou Maka I Ka Le’ale’a” “Moe ‘Uhane” (“Dream Slack Key”) “Ho’omalu Slack Key” More Taro Patch Tune Introductions “Young Street Blues” “Radio Hula” “Hula Blues” “Young Street Blues” “Radio Hula” “Hula Blues” G Wahine Tuning (Gmajor7th) 48 49 53 53 54 60 60 61 66 67 68 72 75 79 80 80 80 “Punahele” Introduction “Punahele” Old Mauna Loa and Ni’ihau Tunings “Sanoe” Introduction “Sanoe” Leonard’s C Tuning “Ke’ala’s Mele” Introduction “Ke’ala’s Mele” C Wahine Tuning C Wahine Tune Introductions “Spouting Horn” “Waimea Canyon” “Aloha Oc” “Spouting Horn” “Waimea Canyon” “Aloha Oc” Tablature Guide Slack Key Recordings Listing Acknowledgements About the Author CD Program Track 1, “Spouting Horn” 2 yenauaye 10. 12. 13. 14, . Introduction & Taro Patch Tuning - Tuning & Exs. 1-7 . Fingerpicking Patterns - Exs. 8-11 }. “La Paloma” - Full-Speed Excerpt . “La Paloma” - Slowly . “Nanea Kou Maka [Ka Le’ale’a” - Full Speed Excerpt . “Nanea Kou Maka [Ka Leale’a” - Slowly . “Moe ‘Uhane” - Full-Speed Excerpt . “Moe ‘Uhane” - Slowly “Ho’omalu Slack Key” - Full-Speed Excerpt . “Ho’omalu Slack Key” - Slowly “Young Street Blues” - Full-Speed Excerpt “Young Street Blues” - Slowly “Radio Hula” - Full-Speed Excerpt 15. 16. 17. 18. 19. 20. 21. 22. 23. . Leonard's C Tuning - Tuning & Exs. 16-18 25. 26. 27. 28. 29. 24, “Radio Hula” - Slowly “Hula Blues” - Full-Speed Excerpt “Hula Blues” - Slowly G Wahine Tuning - Tuning & Ex. 12 “Punahele” - Full-Speed Excerpt “Punahele” - Slowly D6add9 Tuning - Tuning & Exs. 13-15 “Sanoe” - Full-Speed Excerpt “Sanoe” - Slowly “Ke'ala’s Mele” - Full-Speed Excerpt “Ke'ala’s Mele” - Slowly C Wahine Tuning - Tuning & Exs. 19-21 “Waimea Canyon” - Full-Speed Version “Aloha Oe” - Full-Speed Version Introduction What a thrill it has been ‘or me to go through the process that has culminated with the publication of this book. Ie started for me many years ago with a genuine attraction to the beautiful guitar sounds emanating from Hawaii ‘The gentle spirit, happiness (name me a slack key tune in a minor key!), and "aloha" of the Hawaiian heritage is beautifully depicted by ki ho alu, slack key fingerpicking guitar. Even though I am a native Minnesotan, having grown up far from the tropical breezes of Hawaii, the guitar music of slack key artists attracted me like a kindred spirit. ‘These were sounds created from acoustic guitars tuned to mostly lower-pitched alternate tunings, hence the name “slack key.” Now as then, these low-pitched open strings of the guitar provide a rich underpinning to the flowing melodies of the Islands, ‘My attraction to slack key led to many hours hunched over a record player, tape recorder, and CD player (as the years progressed!), transcribing slack key guitar music from the recordings that George Winston and the Dancing Cat Records crew in Santa Cruz, California, have so generously produced and distributed. Itis a labor of love on George's part, an effort to ensure that this native art form remains alive and has an ongoing and ever-increasing audience. As I started to teach some of this music to aspiring slack key players, I made every effort to make sure that my tran- scriptions were accurate, and that I understood the thinking process that went into their creation. With that in mind, in early 2000 I had the great pleasure to travel to Hawaii to study with several of the masters, and to experience a bit of theie culture. Living for several days with Ray and Elodia Kane in the Hawaiian enclave of ‘Nanakuli was a thrill. Ray, the winner in 1987 of the National Endowment of the Arts "Folk Heritage Fellowship" award, is about the kindest and funniest man you could meet anywhere on this planet. And his charming wife Elodia is not known as “Auntie” for nothing! Ray has a sparkling history as a good citizen, having, as a teenager, rescued a flier from the neaeby air base who ditched in the Pacific Ocean off the southwest coast of Oahu. Many foster children have gone through the Kane home. In addition, in his younger days Ray was a scratch golfer! My personal meetings with Cyril Pahinui, Ozzie Kotani, and George Kuo confirmed in my mind the exceedingly gen- erous nature of the Hawaiians, the depth of their understanding of the slack key style and history, and the commitment to the pursuit of their art. They are all great players, whether it be in presenting or reworking the tunes of the masters who have gone before, or stretching the boundaries of the style with their own innovations. They can play a beautiful ballad with deep feeling, and then knock you over with a technical feat like "Hula Blues.” I'm sorry that I never had the opportunity to meet the patriarch of the style, Gabby Pahinui, who died of a heart attack on a golf course in 1980. His sons are ably carrying on the family musical tradition. Cyril Pabinui is a giant among, players and thinkers in the slack key style. He and the other current master players continue to define and reinvent their art as they concertize, tour, and record. One gratifying experience for me during my stay in Hawaii was having the opportunity to play my own compositions for Ray and Elodia Kane. After I played “Spouting Horn” for them, Ray leaned across the table and shook my hand. He said, “I you aren't going to use that tune, I will take it! It will make you thousands!” Well, it may not make me thousands, but I was gratified that a true Hawaiian slack key master would appreciate something I had written in the slack key style. “Spouting Horn” is included on page 68. It isn't the goal of this book to provide a definitive history of slack key guitar. My goal is to help preserve the music these musicians have produced, and to help spread the gospel of slack key among guitarists around the world. I hope that my sincere efforts to present the music as these slack key masters composed, arranged and recorded it will measure up to the ‘efforts of the artists in creating it. . ~Mark Hanson Playing Slack Key Guitar in “Taro Patch” Tuning € oe 8 "Taro Patch" Tuning coer enBe "Taro Patch” is the slack key name for Open-G tuning. It is one of the most commonly used tunings in the Hawaiian style. The open strings produce a G-major sound when strummed. Gh Toshoduce Thro Patch fom standard euing, lower the fist fifth and sixth strings one wholestep. The notes ate: D GDGBD, lowest pitch to highest. An easy way to remember which strings to retune to produce Taro Patch from stan- dard is this: In standard tuning, a first position G-chord has three open strings: the second, third, and fourth. Those notes comprise a G-chord already. To get to Taro Patch, simply lower the other strings one whole-step (the equivalent of two frets). Using "Taro Patch" Tuning “The following examples diagram many of the fingering positions and techniques that you will need in order to play the seven Taro Patch tunes in this book. Very often in Hawaiian music a moving melody is harmonized by notes a third or a sixth below. This is called "parallel" motion, hence "parallel thirds" and "parallel sixths.” Once you play through the fol- lowing examples you-will understand how important parallel motion is to the sound of Hawaiian music, Parallel Thirds Parallel thirds in the key of G in Taro Patch occur almost exclusively on adjacent treble strings, using the first and second strings together, or the second and third. Ex. 1 diagrams a harmonized ascending G-major scale on the second and third strings. You need to know these positions to play "La Paloma." Ex. 2 diagrams descending parallel thirds on the first and second strings. You need to know these positions for "Ho'omalu Slack Key" and "Radio Hula.” Ex. 1 - Key of G Parallel Thirds in Taro Patch Tunins Ex. 2 - Parallel Thirds on First and Second Strings Kyo 6 Peale hrs in Jr ach Tein, yds. Fire and Second Bk 4 25 27 8 set CT ET 6 & a & y oo | a Parallel Sixths Parallel sixths in Taro Patch occur most often in a descending pattern on the first and third strings. Ex. 3 diagrams a harmonized descending G-major scale. This sequence of harmonized notes, played with an appropriate thythm, is one of the ‘most recognizable “licks” in slack key music. "Radio Hula" and "Hula Blues" make extensive use of it. Parallel sixths also occur frequently in Taro Patch on the second and fourth strings, often descending to the end of the neck, Ex. 4 diagrams this movement. "Nanea Kou Maka I Ka Le’ale’a" and "Dream Slack Key" use this parallel motion. Ex, 3 - Key of G Parallel Sixths, Taro Patch, 4 Ex. 4 - Parallel Sixths on Second and Fourth Strings ge ® .c ov Ex. 5 diagrams how to use the descending parallel-sixth pattern from Ex. 3 in the context of a tune. Play Ex. 5 slow- 'y until you are comfortable with the positions, the fingerings, and the chythm! Oftentimes a slack key player will slide from oa fret to the next, adding to the characteristic Hawaiian sound. Ex, 5 - Descending Parallel Sixths in Context, Taro Pate Tuning > 6 ‘There are a number of ways to finger the two-note fingerings in Ex. 5. Try using the litte finger on the first string ‘and the index on the third all the way down the neck. Also try using the Ring finger on the first string and the index on the third all the way down, Both of those may be a bit uncomfortable, since the spacing between notes changes as you move down the neck. With that in mind, try fretting with the middle and little fingers on chords that use adjacent frets (the chords in measures 1 and 3 in Ex. 5), and the index and litte fingers on the chords in measure 2. If you play it this way, you will have to switch to the index finger on the ninth-fret note just before moving into measure 2! D7 to G Chord Change A very common chord progression in Taro Patch tuning is the D7 to G. Ex. 6 diagrams two typical D7-G moves in slack key. You will find these and other similar progressions in five ofthe seven Taro Patch tunes in this book. Ex, 6 - D7-G Chord Changes in Taro Patch Tuning D AG > ~ 6 Chord Fingerings Because slack key guitar music takes full advantage of the open strings, many chords are fingered with one or two fingers. “Ho'omalu Slack Key” is a prime example. Ex. 7 provides most of the G, C, D, and D7 chord fingerings, both sim- ple and more involved, that are required for the Taro Patch tunes in this book Ex. 7 - G, C, D, and D7 Chords in Taro Patch Tuning used in this book Hl % cccGc ec 4 cG op pi pt DoD Dp op ps pr b WO aan Slack Key Fingerpicking Patterns Alternating-Bass Patterns Many slack key guitar arrangements use the alternating, bass fingerpicking style. It consists of the thumb picking a note on every beat, alternating between two bass strings. The fingers pluck the treble strings as required by the melody and harmony. ‘An alternating-bass pattern on G, C and D chords is diagrammed in Ex. 8. Ex, 8 - Alternating-Bass Pattern on G, Cand D chords in Taro Patch Tuning o § FF > e * & In Ex. 9, treble notes are added (plucked by the fingers) to the bass patterns from Ex. 8. Ex. 9 - Alternating-Bass Pattern with added Treble Notes on G, C and D chords in Taro Patch Tiening Picking-Hand Fingers, ¢ ¢ Many traditional slack key players pick only with the thumb and index finger. If you are comfortable picking with several fingers in addition to your thumb, I would recommend that you continue in that manner. If you need a more thorough study of alternating-bass fingerpicking, please consider working with my book/CD The Art of Contemporary Travis Picking. Itis a very thorough course, taking the student from the most rudimentary patterns to quite complex ragtime-style picking, Many of the techniques apply perfectly to the slack key alrernating-bass repertoire. The book and recording are available through most retail music stores, distributed by Music Sales in New York. 6 Slack Key Fingerpicking Patterns 3x3x2 Patterns Another fingerpicking pattern that you will find in this book divides the eighth notes of a 4/4 measure into groups of three, three, and two notes. Sonny Chillingworth’s “Moe ‘Uhane”(“Dream Slack Key”) and “Ho'omalu Slack Key” use this pattern to great effect. Ex. 10 shows a typical 3x3x2 picking pattern, in this case picking with the thumb, index, and middle fingers. The picking pattern is: p-m-i p-m-i p-m (thumb-middle-index, thumb-middle-index, thumb-middle). ‘One word of caution: Don’t pause between groups of notes. Play steadily straight through the measure. Ex, 10 - 3x3x2 Fingerpicking Pattern on a G Chord in Taro Patch Tuning Be aware that the fingers may pick in a different order in a 3x3x2 pattern: p-i-m p-i-m p-i, for example. But the rhythmic placement of the thumb is what solidifies the feel of a 3x3x2 fingerpicking pattern. 2x3x3 Patterns In “Young Street Blues,” Cyril Pahinui shifts the thumb placement in the picking pattern and turns it into a 2x3x3 pattern, Ex. 11 diagrams this type of pattern, again picking with three fingers: p-m p-i-m p-im. As in the previous pattern, the fingers may pick in a different order, but the ehythmic feel remains the same because of the placement of the thumb in the pattern. Cyril plays “Young Street Blues” with a “swing” chythm, meaning that the eighth note on the beat gets two- thirds of that beat’s duration, while the following eighth note gets only one-third of the time. If you don’t understand that, please listen to the recording for the rhythmic feel. Ex. 11 - 2x3x3 Fingerpicking Pattern on a Gadd#11 in Taro Patch Tuning FO “Taro Patch” Tunes “La Paloma” “La Paloma’ translates as “the dove” from Spanish. The beautiful ascending and descending lines of the melody ably depict a graceful bird in flight. Ray Kane (pronounced KAH- nay) uses Taro Patch tuning for “La Paloma.” He plays the moving parts of the tune almost exclusively in parallel thirds on the second and third strings. (See page 4 for an introduction to paral- Tel thirds in Taro Patch.) How you finger the fifth: and seventh-fret notes in “La Paloma” is a matter of personal preference. The notes may be fingered with two fingertips, or as a partial barre. Experiment with both to see which works better for you. In measures 5-6, you may find that a partial barre will facilitate playing, that passage smoothly. I recommend a partial barre in measures 11, 19, 24, and, 27, since the fretted first string is includ ed in the strum, Full barres are required from measure 34 to the end of the piece. The descending strum in mea sures 12, 21, 29 and 31 should be plucked with the index finger, with the thumb plucking the bass note (the final ‘note of the strum) to finish the arpeggi “Nanea Kou Maka I Ka Le’ale’a” Ray Kane's delicate touch on the guitar is beautifully depicted in this love- ly Taro Patch tune. As in many of Ray's pieces, the alternating-bass is the foun- dation of the arrangement. At times, however, he plays a monotonic bass line, as in measures 5-8. ‘The upper voices are character ized by fretted chords lasting two beats «each {measures 5-7), followed by descend ing parallel sixths (measures 8-9) ‘The moving voices in measures 8 21 and 33 are descending parallel sixths ‘on the second and fourth strings (see page 4). To recreate Ray's phrasing in this passage, each chord fingering must bbe maintained slightly longer than one ‘might think: For instance, in measure 21, maintain the fifth-fret notes for two full beats, changing quickly to the DIWV/G chord (thied- and foucth-fret notes) as the thumb plucks the fourth string on the third beat. In other words, the descending strum after the second beat of measure 21 begins with both fingers fretting the fifth fret, and finishes with the fingers fretting the third and fourth fretst This happens two more times moving into the next measure. This move is not as tricky as it might seem. It just takes some atten: tion and practice. If you have trouble producing the fifth-fret harmonic in the final mea- sure, try moving your picking hand clos- cer to the bridge. Also, use a "rest” stroke with the chumb, (The thumb plucks the second string sharply and comes to rest fon the first string after the pluck.) “Moe ‘Uhane” (“Dream Slack Key”) The late Sonny Chillingworth dreamed this classic slack key melody, hence the tite. It is @ beautiful liking ‘une that is not too technically challenging. ‘The opening phrase found in measures 1-4 exemplifies the 3x3x2 picking pattern (see page 7) that is used ‘throughout the piece. I recommend that you pluck this _p-m-i-p-m- although picking with only the thumb and index is a deeply imbedded Hawaiian tradition, Since the treble notes of mea- sures 1-4 are all D notes, the treble strings could be plucked in the reverse order: Sth-2nd-Ist, etc. Slack key master and teacher Ozzie Kotani points out that Sonny Chillingworth often played the strings in that order when using this picking pattern. For "Moe ‘Uhane” I would rec- ‘ommend that you play the opening pat- tern as written, It is consistent with what is required later in the piece. In measure 6 and others like it, consider using a "push-off" on the sec~ cond string, This will prevent the fretting finger from accidentally sounding the first string. The descending arpeggios in measure 15 are nearly identical to those found in measure 21 of Ray Kane's “Nanea Kou Maka I Ka Le’ale'a." “Ho'omalu Slack Key” Sonny Chillingworth’s "Ho'omalu Slack Key" uses the same picking pattern as "Moe ‘Uhane." If anything, this piece is even easier to play than "Moe ‘Uhane." All of the melody notes in the main sections of "Ho'omalu Slack Key" are fretted on the second string! The quick hammer-on_pull-off combinations in measures 31-50 (varia- tions 3 and 4) likely will provide the only technical challenge in the tune, The picking pattern remains the same throughout these measures, but the fret- ting hand gets busier. If you have trouble learning variations 3 and 4, try this: Think of each measure as containing a pair of two-note chords, each lasting two beats For instance, measure 31 contains a chord at the ninth and eighth frets, and fone at the fifth fret. Don't fret both notes of the chord ae the same time; they are fretted individually. Simply visualize each "chord" at the proper frets Hopefully that will help you play the right notes! ‘The strum atthe end of measure 52 is plucked by the index finger. La Paloma ‘Taro Patch Tuning (Opes-G) ‘Traditional Spanish (EDGED, lowest ptenohighes) Amangement by Ray Kane J-10 |G 1 r r — rpcre bf pare br orf PF 6OFS w pf 6CFf bf POST bf 6 Ff a a sane Copy © 1988 Ray Kae st By Peison, A Rahs Reseed From the album Hawaii Rainbow - Mosc from the Robert Mage fil. Out of Prin V2 WVonneny = La Paloma cio; Cf pf CY 6 f CEES Of bor Qh pola pla 8 JPctt? 8 s 6( pCLOY pf 6CLEr br ory fF ore Ft ) N rt ~~ Fo | Nanea Kou Maka I Ka Le'ale'a ‘Taro Patch Tuning (Open-G) ‘Arrangement by Ray Kane BEEBE. este tahes Swaight Sth-Now Feel; Aerating B Jewe G 7 1 ee wef Por cy f "ah. eh ee rie Tar tir ft coco cys Cece Ett OY age © 1998 Hla Cat Maia Kane Mai Used By Permission. All Righes Reserved || From the album Punabele (Dancing Cat poet 360012) i 8 ‘Nanea Kou Maka I Ka Le’ale’a P Nanea Kou Maka I Ka Le'ale’a a G a b ‘Nanea Kou Maka I Ka Le'ale'a ry Moe 'Uhane (Dream Slack Key) ‘Taro Patch Tuning (Open-G) By Sonny Chillingworth GDGBD, lowest pitehto highest) Swaigh 8U-Note Fel, J 108 Cory f f Cheep tres Chey yr 5 si/Hale © Mele Mase. Used By Permision. All Rights Reserved, aneing Cat 08022 38005-2) and ers (Dancing Cat 08022-38032-2) |! ‘Hawaiian Slack Key G Hil|| +6 ‘Moe ‘Uhane (Dream Slack Key}: e cosioyG DI CE e 2 3 2 3 FO ‘Moe ‘Uhane (Dream Slack Key) PTT 3 mH fT (2—t 424 pre es Gis r r ‘Moe "Uhane (Dream Slack Key) - ‘Moe ‘Uhane (Dream Slack Key) ‘Moe ‘Uhane (Dream Slack Key) C{ty Cecy Cees f Crt Cty g o fe a Ho'omalu Slack Key os ae Crea ony Chillingwor DBSvE pp. lowest pho bighes) Sony Citingworth Seah SNe Fel d= 108 G 1 COOP Cer Coy ee Ce Ce Cee Ce wo og a * | —» 1 — = o ———— Coif Chis Chey coer Chey Cie Cony © 1984 Hal at stale © ic, Used By Permission. ll Rights Reserve. \ Sum Soy Sle Daning Ct 00022 3005.2) 22 Ho’omalu Slack Key | Ho'omalu Slack Key DS = ay ars Coe ee CY CO Oe <4. Ziel oN 4p noe oS tans Ceres Coe Cy Cer Geer LY Variation G Ho'omalu Slack Key D my fF ~ 0-9-0 9 |-—-2» HP coepcy Cees Coorcy Cr coy Ho'omalu Slack Key >) on ey we ~ ~ HH } . CHO carr ee er G QD = - 5 5 2 Pos Fil foocoo tere Cee cee > oan ° “Young Street Blues” Cyril Pahinui's “Young Steeer Blues” is a theme-and-variations piece much like “Ho'omalu Slack Key." Also like Sonny Chillingworth’s tune, the main picking pat- rem of "Young Street Blues" divides che eighth notes of each measure into three ‘groups. But this time it is 2-3-3 instead of 3-32. The picking pattern in "Young Steeet Blues" has much more variety than "Ho'omalu.” By measure 4, Cyril is already varying the pattem with a descending arpeg- ‘pio that puts the final thumb note on the fourth beat, In measure 7, he incorporates a triple into the second beat (adding a thumb pluck to the pattern), a rhythmic figure that gets plemty of use later in the rune. ‘There are a couple of tricky tech niques in "Young Street Blues.” Measure 21 requires a simultaneous firs-string pull-off and a plucked bass note. In measure 54 and several subsequent measures, Cyril adds a hhammer-on/pull-off flourish to the triplet. If you are unable to manage this, play the pas- sage like measure 24 instead. Play *Young Street Blues" with a "triplet" feel until the final three measures, “Radio Hula” " Radio Hula" isa signature piece of Ledward Kaapana, who, along with Cyril Pahinui, is one of the greatest technicians and most innovative players of Hawai slack key guitar, Ledward plays the opening of “Radio Hula” with no steady tempo, in the "eubato” style. The tempo becomes steady on page 37 when the alternating: bass fingeepick- ing stares. Here the triplet rhythm “swings.” In the intro, be prepared to fret two Partial bartes simultaneously. In measures 2 ‘and 3, barre the thrce treble strings at the fifty free with che index finger. While sus ‘ining that partial barre, use the middle fin Ber to barre the first two strings at the sev- nth fret. Using the index and middle fingers {Lin this manner allows the little finger to reach the ninth-fret note in measures 3 and 13. A chromatic melody occurs in mea- sures 20-21, These notes are played as riplets (three notes per beat), but the notes them- selves are grouped is fours (12th-1Ith-10eh- 9th frets, and repeat). This provides a won- erful ehythmic push and pull to the music. In measures $5 and 65, pluck all of the on-the-beat notes with the thumb, contin | wing the alteracing-bass pattern even though the second:beat note is on the second string Don't play "Radio Hula" too fast! “Hula Blues” “Hola Blues," arranged by Sonny Chillingworth, isa great show-off piece. It is a standard in the repertoire, played by such ‘great players as Ozzie Kotani and George Kuo, It is the final pigee in Taro Patch tuning in this book, and the most challenging! ‘There are ewo main sections c0 "Hula Blues.” The firs is 16-bar progees- sion which Sonny plays five times. The other isan S-bar bridge, which occurs in measures 33-40 and 73-80. Except for the first four bars of the bridge section, this piece uses alternating-bass. ‘The tune starts out with descending parallel sicths on the first and third stings. This is followed in measures 3-4 with a minorthird 10 majorthird slide occurring both on and off the beat. In measuees 5-6 the descending par- allel sixths occur again, but chs time fearur- ing a pall-off on the frst string. This pull-off creates several triplets. Make sure you place the pull-off in the correct ehythmic spot! ‘Measure 7 isa repeat of the sliding in measure 3, but with a subtle change: Sonny slides not only on the thied string but ‘on the first string as well. Move the two notes simultaneously asa chord. The picking is the same as measure 3 In measures 9-10, the sixth string must be freted with the thumb. If you are More “Taro Patch” Tunes unable to do that, substitute measures 49-50 instead, Use them in place of measures 25-26 also, To play measures 9-10 as written, fret the sixth string at the 10th fret with the thumb. In addition, place what looks like a standard-tuning, first-position C-fingering. ‘on the first, third, and fourth strings at the cighth, ninth, and tenth frets, respectively ‘This may sound convoluted, but having a ready-made fingering in mind when you jump co this postion wall be helpful ‘Once all of that isin place, the little finger deaps onto the 10th fret of the second stcing, bending the string and celeasing the bend when appropriate, In measures 17-32, Sonny frets all haee treble strings in the descending parallel sixth passage, adding a jazzy-sounding third voice to the parallel sixths. ‘The third time through the main section begins at measure 41. The variation here on the descending parallel sixths is a long, quick slide up from the second fret on the thied string, ‘To play the ending with the speed and clarity of Sonny Chillingworth is chal: lenging, For the C chord in measure 95, con: sider bacring the ith fret with the MIDDLE finger. Barring with the middle finger is a ‘common practice among slack key players. ‘This allows you to play the subse- {quent Cm chord without a major hand shift. To play the Cm, bend the middle finger back ward slightly, barring only the fifth, fourth land third strings with it, Simaleancously, place the first finger at the fourth fret of the second string. The sing finger frets the frst string ac the fifth fet For the G6 in measure 96, fret the firs string with the liele finger, and the oth three with what looks like a "misplaced’ standard-tuning, first-position D7 fingering, ‘Thinking of this four-note Gé chord in this {ashion may make it easier for you to finger it more quickly as you leaen it Have fan with “Hula Blues.” At performance speed, it's a real show-stopper! 29 yo ‘Taro Patch Tuning (Open-G) GDGBD, lowest pitch to highest) ‘Triplet Feel Young Street Blues Cyr Pahinui ce G Main Theme G Ja 8 coor ceey Cory Cees Lycee cey Cf cee rer First Variation. G Copyright © 1994 Hula Cat MusiiCharmagn's Love Masi. Used By Permission. All Rights Reserved Foon the album 6 & 12 Sting Slack Key (Dancing Cat 08022-38010) 30 Young Street Blues Creorcoo coro ee Second Variation G 2 rao ora ar Cor ceos Coe er ‘Third Variation Do c G e = 7 —— ChCefeeey coer cee for coor (Lor OL ‘Young Street Blues pmipimpim eo opp s = ee a crcereecy Coey cies Chey cies Cerys cry G > e 18 3Y 2 co iler pippi pe Coo re ee ee o 2 oe o 2 coercerys Ch Ciyee ey Ch Ceres Cf CeCe 3 o A 2 6 2 te Curio Oooo Coe ‘Young Street Blues Choy cee Coes Of oe Coe CY Cer Cy Cees Seventh Variation G e H P 1 Cire ooo Oo Cee G D G 3 [ Z 7 Z es oa Cooter coerce tee Coe cee Young Street Blues 2 e ocr ‘Straight Sth-Note Rhythm Fe Radio Hula ‘Taro Patch Tuning (Open-) ‘Arrangement By Ledward Keapana (BEDE DD, loved pch to highest) Freely G® ow > He 1 = 4 bp ps o oD D pe D> co D a teeny) Cheer Che Cpe cy ngement Copyright © 1994 Hula Cat Music/Jus'Press Music. Used By Permission. All Rights Reserved. , fam alts Ban Ci a ne 36 ‘Steady Tempo, Triplet Feet wg fds pol pl ; ) DWT» r rier COL CE CL or Co ee ee Jods pd) oa Oe GS : r 4111 ? Tr ul! = pt r Tr ; eT — — oa alll L ethno bee eee ; COO cee cee Cee Ce fo Straight 8th Notes Resume triplet fel 2 & : d « CO CMEPCOos COS Coes Ce oe g G Gi GE D 2 ag 7 “ay s = cicy COL ps a @ 7 ane be Chr COLy Ceer cee Cher Ce oe @ veext Gai? D s c(ifciry coey City OU co ff f Hula Blues COLT , 48 “G Wahine” Tuning - D GD F# BD The Hawaiian word "Wahine" is regularly applied to slack key guitar tunings. It means that one of the open strings of the tuning is the major-7th note of the chore. If you don't understand that, I'l try again: The note that is one-half step (one fret) lower in pitch than the root note of the chord is the "major 7th." In a Wahine tuning, this note is one of the ‘open strings of the guitar. In G Wahine tuning, all the open strings except one are notes of a G major chord. By lowering the third string from its normal G pitch in Taro Patch to an F¥ (one-half step below the root note G), the tuning becomes a “Wahine” tuning. G Wahine tuning consists of these notes: D GD F# B D, lowest pitch to highest. Since itis nearly identical to Taro Patch tuning, many fingerings “Punahele” Ray Kane's signature composi- tion "Punahele" is in G Wahine tuning. Ray has often used it as a good- humored challenge for aspiring slack kkey students He wrote “Punahele" in the 1930s on a beach near his longtime Oahu home in Nanakuli. The fact that it thas been imitated numerous times by other guitarists speaks volumes to its easy charm and attractiveness *Punahele" is characterized by a relatively slow-moving alternating bass pattern, over which Ray plays an increasingly fancy melodic line. The "upper voice is full of "chimes" (harmon ics) and fretting-hand articulations (hammer-ons and pull-offs), to the point that the tune feels like itis going quite fast, even though the main pulse of the tune is at a moderate tempo. Be aware that Ray “pushes-off” instead of “pulling-off.” This is a less overlap. The parallel third and sixth movements from Taro Patch that do not involve the third string are fingered indentically in G Wahine. Chord finger- ings can be determined in G Wahine by Ex, 12 - G and D7 Chords in G Wahine Tuning D simply moving third-string notes one fret higher from the corresponding Taro | Patch fingering. Even though the tunings are so similar, good slack key players have very good feasons for tuning to G Wahine from Taro Patch. Here are some: Ease ~ In G Wahine itis possible to play both a D chord and a G chord using only open strings (Fi is a member of aD chord). Accessibility — Itis possi- ble to casily hammer-on an important note in each chord: the root note G on the first fret of the third string; and a C note on the frst fret of the second string, which helps form a D7 chord. major7th chords on the open strings. You can even be jazzy in this tuning: I used G Wahine tuning for a jazz harmony arrangement of the Christmas carol "Angels We Have Heard On High." You can find it at www.accentonmusic.com, - Ray Kane’s G Wahine Classic common technique, especially on the first string, but one that provides a cer- tain lightness to Ray’s playing. I have written “Punahele” in “cut time," meaning that the main beat in the notation isa half note. Instead of the normal four alternating bass notes per measure, there are only two. This moderate tempo of the bass line helps che tune maintain a relaxed feeling as the treble voice gets ‘more and more involved. The eighth notes are played with a straight rhythm, as opposed to the triplet rhythm of the previous three pieces in this book. "Punahele” is made up of 10- bar phrases, a musical structure that is common to many pieces in the Hawaiian repertoire, Ray uses only two. chords: Gmajor and D7, both of which are eas- ily accessible with many open strings in G ‘Wahine tuning. Each phrase consists of a G chord for four measures, a D chord- for three measures, and one measure each of G, D and G. Ray plays the first four mea- sures freely, without a steady tempo. The steady tempo, the alternating bass, and the 10-bar phrases begin in measure 5. As in "Ho'omalu Slack Key, consider thinking of the first- and sec- ‘ond-string notes in the H-O/P-O mea- sures asa "chord," even though you don't fret the two notes simultaneously. Measures 45-46 are good examples. This may help you keep track of where ‘you need to be on the fingerboard at any ziven moment. As noted at measure 55, to imi- tate Ray's complete recording of "Punahele,” repeat measures 5-24, then play from measure 45 to the end. Punahele J Taing (Gmsjr 7th sy kane {EBB Kove pch to highes) Ray Ki D> in a = Steady Tempo: Alternating-Bass J2108 G 5 > am dy ff Cte 7 or He _ E fr 6 {secon mpiromendal > Gg | Maen) pf Cr citer f Off OF forr ofr fora 6 a sc a id fcr core co cr or ee 6 fete on ¢ mem py 22 T r r E r e Hie vik s zg g 81 a E 2 | “Old Mauna Loa” and “Ni’ihau” Tunings In Hawaiian slack key guitar, "Old Mauna Loa" and "Ni'ihau" run: ings are characterized by a certain inter- val between adjacent _ strings. Specifically, the second and sixth notes of the tuning’s scale are found on adja- cent strings, with the sixth as the lower- pitched string ‘These two notes are an interval of a "fourth" apart, the same interval found between most strings in standard tuning (the "Here Comes the Bride" interval). Ex, 13 - Parallel Thirds in D A D Fit BE Tuning In the case of D6add9 tuning (D AD Fé BE), the sixth note of a D scale is B, and the second note of a D scale is E, These two notes are found on adja- cent strings (second and first strings), with the sixth (B) being the lower- pitched note-hence an "Old Mauna Loa" tuning. Cyril Pabinui's "Sanoc" tases this tuning, To produce Déadd9 from stan- dard, simply lower the third strings one- half step, and the sixth string one whole step. (This tuning was well-known cen- turies ago, in the lute music of Europe.) Another way to look at this tun- ing is asa slight variation on Drop-D (D AD G BE), The third string is lowered cone half-step. ‘The parallel thirds you will need for *Sanoe" are diagrammed in Ex. 13. Ex. 14 diagrams parallel sixth motion cn the second and fourth strings (at the same frets as standard tuning) Ex. 15 diagrams “Sanoe” chords, Ex, 14 - Parallel Sixths in D A D F# 8 E Tuning Ex, 15 - Chords in Cyril Pabinui’s “Sanoe” Arrangement D Em En? Fmt GB G GN Asst Ame A Bain? Cyril Pahinui’s Arrangement of “Sanoe” Queen Liliuokulani’s "Sanoe" is one of the most beautiful vanes in the Hawaiian heritage. Ie has been recorded by numerous vocal groups, in addition to instrumentalists Cyril Pahinui recorded "Sanoe" in Déadd9 tuning, D A D F# BE, low- {st pitch to highest. From standard tun- ing, only the thied and sixth strings are lowered. During our personal interview, Cyril improvised another stunning ver- sion of "Sanoe” in Open-D tuning! Cyril plays "Sanoe” in the rubato style, that is, without a steady tempo. It can be played exceedingly expressively in this mannes, which Cyril does mag- nificently. 1 highly recommend that you hear Cyril's original version so that you understand his sense of rhythm. Its not particularly easy 10 maintain both this rhythmic ebb-and-flow and the emotion of the piece at a very slow tempo. Please notice that at measure 69, Cyril does change to a steady tempo. This he maintains nearly to the end of ees the piece, where he then ritards. Notice ako that often many of the notes in a measure are produced with a single fingering. Measures 4, 6, 69-71, and 73 are good examples. In the middle of measures $ and 16, the dimin- shed-7th fingering is simply moved up the neck three frets. ‘There is ittle doubt that think- 1g of chord fingerings, rather than indi- vidual notes in the fretting hand, will help you play this piece. Developing a sense of “rubato” may take some work! 53 Sanoe Dat in Be Ee pho ten) rags i Pin Ce ee on . Main Theme Alsust a cain? > a Dm Em a Atsust a Corry Cy CLtir/s f f f f Arrangement Copyright © 1998 Hula Cat Music, Used By Person, All Rights Reserved From he album Night Moon - Po Mahi (Dancing Cat 08022-38030) 54 cor Cf a Chey ttiry CLs tics Baim? oe D “1 Cif ciir cs cio thir or s 7 7 CoCo Cty Chir cer cee Cees ée 5 oe eee + OU woe Wwe tea Second Variation cyecycty cf Cf Cho tery CL a ATsust ar AB - . - s cos Cty Ch chy cies Cty CLy tly cecor tty Cf ereiroe ou AB D pb Coca CeCe oe ere ese coor cece or cece CL eee cee )) Ending STEADY TEMPO G cerey Gare eee fe Cree fff Cf Ofer f Cf tte of oy Em? G Bimtct f CPCOLy Coor f CYCLE Cees ¢ Cf Cees Cee a a Em? AT Ateust AT D ~ ——————— =z = coor oor oayer oy sf 60, “Leonard’s C” Tuning -C GDGBD C Wahine” tuning has many varieties among the players of Hawaiian slack key guitar. The one associated with Leonard Kwan, called "Leonard's C," is CGD GBD, lowest pitch to highest. (See page 66 for an'explanation of “C Wahine” tuning.) Ex. 16 - Parallel Thirds in Key of C, “Leonard's C* Tuning It is the same as Taro Patch except thatthe bass string is tuned down, an additional whole-step to C. "Leonard's C* is useful in both the key of C and the key of G. Since all of the key-of-G fingerings that do not involve the sixth string are identical to Leonard Kwan’s “Ke’ala’s Leonard Kwan's recording of his magnificent piece "Ke'ala's Mele" is played in his characteristic “Leonard's C™ tuning: CGD GBD, lowest pitch to highest. Since it is over six minutes long, we could nor print the entire piece in this book. What is represented here is the first 59 measures exactly as Leonard recorded them, the exact ending, plus one lovely variation. “Kelala's Mele" is characterized by diversity. Much of this piece is set in the alternating bass style (measures 4, and 6-8, for example). But at least as much of the tune uses a variety of other techniques, including single-note runs (measures 3, 9-10), monotonic bass lines (measure 13), simple arpeggios (measure 42), har- ‘monized arpeggios (measure 37), strums and pulk-offs (measure 41), parallel three-note chords {measure 24), and more, Another very interesting, aspect of this piece is the 11-bar phrases that open the tune, giving way to 10-bar phrases later. The characteristic descending parallel sixths appear (mea- sures 34-35, 44-45), but on the second and fourth strings, where they lie nicely in the key of C. Pay attention to the meter changes in this tune. Regularly Leonard switches into a three-beat meter (mea- sures 9-10, 20-21). At one point he switches from 7/8 to 4/4 to 3/4 and back to 4/4 in the course of five measures (49-53), ‘The trickiest measures to play cor- rectly may be 31 and 41,a barre arthe 10th Taro Patch, I will diagram key-of-C fin- gerings in this chapter. Those will match the following tune, "Ke'ala's Mele.” Parallel thirds and sixths in the key of C are diagrammed in Exs. 16-17. Ex. 18 diagrams the chords used in “Ke’ala’s Mele.” Ex. 17 - Parallel Sixths in Key of C, “Leonard's C" Tuning Mele” fret. In the second half of measure 31, pluck with the fingers on the beat and the thumb off the beat. In measure 41, you are required to pull-off as you strum the barre chord at the 10th fret. This takes a little practice, but sounds great when you get it. To use the variation that is included at the end of the transcription, repeat from measure 59 to measure 7. Play measures 7-15, then play the varia~ tion. At the end of the variation, play measures 29 through 36, followed by the Coda. It requires a little page turning until you have it memorized, bur includ- ing the variation is worth the effo One of the great older genera tion slack key patriarchs, Leonard Kwan died as this book was being writ- ten in the year 2000, Ke'ala's Mele sonar’ C* Tuning (C Wahine) CBS lowes pie ighes) ‘Straight Sth Feel; Alternating-Bass : = a c J=120 1 * | mou four wororour | CU Ooo f cee teri G7 (Substtue the Variation Here) a a 92238008) a ing Cat 08022-38032-2) Ke'ala’s Mele SF How fous thee eo ter a F c o G = a3 ooorcr sf COCs CLE CL 6 6 Cy ¢ f (End of Variation substitution) =I @ c o r jer 7! ; 4 coer ceey f COOL Cees tee f CO CLL BI BV sr 8x. . 5 ev, 6 f CYCLES Chey Cees CLL Cee CLL CLL 816 BY ( Cece f Cece f COCs f ees ° a city ciey Cec CLL Ke'ala’s Mele Variation The following measures constitute a beautiful variation played by Leonard Kwan on his Dancing Cat recording of "Ke'ala's Mele.” To incorporate this section into your performance of this piece, substitute the measures on this page (Ms. 63- 74) for measures 16-28 on pages 61-62 during the repeat of the main section. To play the entire piece using the Variation, play the measures in the following order:1-59, 7-15, 63-74, 29-36, 60-62. Ce “C Wahine” Tuning -C GDGBE another C Wahine, but slightly different from "Leonard's C." This tuning main- tains the high E on the first string from standard tuning, but lowers the two bass strings to C and G. The tuning is CGD G BE, lowest pitch co highest. From “Leonard's C” the only difference is the E note on the first string. ‘The final tuning in this book is | ‘A wonderful aspect of this tun- ing for standard-tuning players is that the four treble strings remain in standard tuning. All of the fingerings you know in standard tuning are still valid in C ‘Wahine, at least on the four treble strings! Parallel thirds and sixths on the four treble strings work just as they do in standard tuning. Exs. 19 and 20 show them in the key of C, since that is what the final tunes in this book require. “The chords in this tuning are also Ex, 19 - Parallel Thirds in Key of C, C Wahine Tuning familias, but oftentimes easier than stan- dard tuning because there is no need to fret a bass string! C and G chords are the most common because of the root note of the chord in the bass. Any major chord is playable with a full barre fingering. Ex, 21 diagrams many of the chords required for the following pieces in C Wahine tuning. Ex. 20 - Parallel Sixths in Key of C, C Wahine Tuning Ex. 21 - Chords in C Wahine Tuning coe @ com gm Fe eo —s 4. iz 4 _| - 7 4 : J ; 3 $ : ; = = £ = E 2 : = = = | 66 “C Wahine” Instrumentals “Spouting Horn” My composition "Spouting Horn" was inspired by a rock formation with the same name located on the south coast of the island of Kauai. Crashing ‘waves on the beach force a geyser of water about 30 feet into the air through a hole in the rocks, hence the term “Spouting Horn.” use my favorite Hawaiian tun- ing for this tune: C Wahine with the first, string tuned to E (CG D GB E, lowest pitch to highest) No Standard Picking Pattern *Spouting Horn" has no stan- dard picking pattern. Iti simply a com- bination of arpeggios and plucked multi- note chords. Ie uses parallel sixths liberally on both the second and fourth strings, and she first and third. Listen to the record- ing to get a feel for the chythmic flow of the tune, Fingerings ‘Ar the end of measure 9, you must change fingerings so that the mid- dle finger frets the first fret of the second string. This sets up the barre F chord in measure 10. Finger the C6 chord in measure 12 with the middle, ring, and litele fin- gers so that the index finger is available for the G note (8th fret) in the subse- quent C chord. ‘Measures 21-36 comprise a vari ation on the original theme. Play this tune as if you were sit- ting at the base of a palm tree swaying in the trade winds. “Waimea Canyon” "Waimea Canyon” is another tune of mine in C Wahine tuning (with the first string tuned to E). It also was inspired by awesome sights on the island of Kauai, ‘This instrumental starts with descending parallel sixths, but quickly moves to the three- and four-note chords that characterize its harmonic sound. Fretting With the Thumb 1 fret the bass notes of the final chord in measure 3 and the frst chord in measure 4 with my thumb. This finger- ing allows me to sustain most of the notes of the Dm7 chord as 1 play the ascending hammer-on scale in measure 4. If you can’t "thumb" the sixth string, fret the chords in these measures as barre chords instead, as indicated. If you can't manage that either, simply play the notes on the first and sixth strings, eliminating the other two notes. Those notes provide the melody and bassline, all you really need ‘There are several ways to fret the chords in measures 6-7. If the sug- gested one doesn’t work for you, please feel free to try another that may be more workable for you. Harp-like Scales In the scale at the end of mea- sure 7 going into measure 8, lam trying to incorporate a harp-like sustain on adjacent strings. Sustain each of these notes as long as possible, allowing them to sustain into the subsequent notes. ‘The fingering suggestions in this passage are highly recommended. This hharp-like sound occurs again in mea- sures 14 and 18. The tempo and rhythmic feel of “Waimea Canyon” is very similar to *Spouting Horn.” “Aloha Oc” This classic tune from Queen Lifiuokalani lends itself beautifully to C ‘Wahine tuning, once again with the E on the first string (CG D G B E, lowest pitch to highest) Using Tivo Keys Thave arranged the chorus sec- tion of “Aloha Oe” in two different keys. The arrangement starts out with a rich version of the chorus in the key of G. The chorus occurs twice more, both in the key of C, on pages 77 and 78. After the opening chorus in G, 1 modulate (change key) to C for the verse. The melody of the verse may sound very familiar to many of you hymn singers. Ie borrows heavily from the old Swedish hymn “How Great ‘Thou Art.” After the verse, the chorus is played ewice in the key of C. The chorus is quite easy to play the first time through in C (page 77). The second time through contains a flourish that incor- porates more challenging techniques. Really Easy Version If you wane to play a really easy version of the familiar chorus with no frills, simply play page 77 of the arrangement, stopping on the first chord of measure 48. Play “Aloha Oe” with all the: feeling of the slands that you can ‘muster, It is sure to stir some emotions. 67 Spouting Horn ‘© Wahine Tuning By Mark Hanson (CGDGBE, lowest pitch to highest) Straight Sth-Note Feel jee Hop f cy f Cette CLiy f 6 Coy f CS ff cone 01897 aD ow A igs ede by elon Seg nae ee nu Sn a0) 6 rows roe ¢ Chere force Cee FINE a q ° 6 cwm oc Waimea Canyon cat {CUBE BE west pitch to highest) Sesigh Note Foe a9 Dm? Goi Gr Gast? @ r 6 CLS CLoys Cee Ctr Uy Copyright © 1999 Mack D, Hanson. All Rights Reserved, Used by Permission Waimea Canyon c FC Oc Csust Cie > co op ‘Waimea Canyon, c comm og F Corey Cree fF pf fF ff OF Of Dm? G Goin G ° FINE DS. ¥ al FINE 13. 2 Repeat measures 11-26. Finish FCC a oe |\ne fn the third beat of measure 26. ae | J. bt a j 1 Aloha Oe a cman, “Rt ( Ccfceer fe ff Cheyer rangement Copyright © 2000 Mark, Hanaon. All Rights Reserved, Used by Permission. (Queen Lilivokstani Arrangement by Mark Hi Em? ° Q = 5 ° ° Chorus in C F c a Q 3 a Q ° ° Q a c » Tablature Guide ‘Tablature is a notational system designed to show the instrumentalist at which fret to depress a string when plucking that strirg, Tablature has two main advantages over standard notation: 1) it indicates fretting hand position, and 2) itis much easier to learn to read. Tablature also has its disadvantages, but for this book, I recommen learning TAB if you don't read either, especially since the positions of the notes change on the strings when the strings are retuned! Six horizontal lines represent the six strings of the guitar: Ex.1 ‘A number on a line indicates at which fret to depress that string as you pluck it: Ex.2 Ex.3 In Ex. 2, a D7 chord in Taro Patch tuning (Open-G tuning), pluck the strings in this order: 1) sixth string plucked as an open strings 2) third string fretted at the second fret; 3) open fourth string, and first fret of the second string pluck simultaneously; 4) fourth fret of the fist string, which then slides to the fifth frets 5) open fifth string. In Ex. 3, the stems and beams underneath the staff denote the rhythm. It contains four eighth notes, each receiving 1/2 beatin 2/4 time, To produce the correct rhythm, count evenly “1 & 2 8” with the notes as you pluck them, Other rhythmic markings you will see include: © = whole note (ull measur) y eighth note (1/2 beat) P= hattnote @ beats) Vo = deste eigtn (34 beat) P= doued hat note beats) LU = triplet eightns (1/3 beat each) |= quarter note (1 beat) a = sixteenth note (1/4 beat) [P= doted quater (1-172 beats) LY = foursixteents (14 beat each) “

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