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Sheila Heathcote has lived in Hawaii since 1986. She's a published author on the topic of Kauai and the owner of Hale O Nanakai Bed & Breakfast.

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Monday
Nov282011

"Ki ho'alu" -- Hawaiian Slack Key Guitar

Hawaiian slack key guitar (ki ho'alu) is one of the world's great acoustic guitar traditions. However, due to Hawai'i's isolation (the islands lie furthest in the world from any major land mass) ki ho'alu remains one of the least known traditions. Ki ho'alu, which literally means "loosen the key," is the Hawaiian-language name for this unique finger-picked style. The strings (or "keys") are "slacked" to produce many beautiful tunings, almost always based on a major tonality and often containing a full major chord, or a chord with a major 7th or 6th note. Each tuning produces a characteristic resonance behind the melody, and each has its own characteristic color and flavor, like a beautiful basket of fruit.

Many Hawaiian songs and slack key guitar pieces reflect themes, such as stories of the past and present, and aloha for loved ones. Hawai'i's tropical surroundings, with its ocean, volcanoes, mountains, waterfalls, forests, plants and animals, provide other deep sources of inspiration for Hawaiian music.

These currents run deep in slack key guitar playing, as accompaniment to vocals, as instrumental compositions, or as instrumental interpretations of vocal pieces. Drawn from the heart and soul out through the fingers, slack key music is sweet and soulful.

Slack key's unique sound comes partly from techniques such as the hammer-on, an ornament produced by plucking a note and immediately fretting that string to produce a second higher tone; and the pull-off, produced by plucking a fretted string and immediately pulling the finger off that fret, sounding a second lower note that is either open or fretted by another finger. For a great example, see Ray Kane's Punahele from his album of the same name. These techniques mimic the yodels and falsettos rooted in ancient chants and common in Hawaiian singing. Other techniques include harmonics ("chimes"), produced by lightly touching strings at certain frets, and slides, in which one or two treble notes are fingered and then slid (usually up in pitch) to sound another note. A beautiful effect is sometimes created when a guitarist is singing and the note or notes on the top pitched strings sound like a second voice. These techniques all enhance the expressions of aloha, joy or longing--sometimes all in the same song.

Like blues guitar, the slack key tradition is very flexible and can have great emotional depth. A guitarist will often play the same song differently each time, sometimes changing tempos, or even tunings. As guitarists learn to play in this very individualistic tradition, they find their own tunings, techniques, arrangements and repertoire.

FOUR SLACK KEY STYLES

Today there are four basic types of slack key guitar. Some guitarists play more than one style. The first is simple but profound, most evident in the older playing styles, such as that of the late Auntie Alice Namakelua. The second is a sort of "slack key jazz" with a lot of improvisation and is used prominently in the music of Atta Isaacs, Cyril PahinuiLed KaapanaMoses Kahumoku,George KuoOzzie Kotani and Peter Moon.

The third type creates a unique sound using ornaments like hammer-ons and pull-offs. These techniques are featured on Sonny Chillingworth's Ho'omalu Slack Key, Ray Kane's Punahele, and George Kuo's Kohala Charmarita. Guitarist Manu Kahaialii uses another technique called "Hei Kuikui" on his song So Ti in Eddie Kamae's documentary film THE HAWAIIAN WAY and on Manu's out-of-print album KAAHAIALII MAUI STYLE. In this technique, the left hand holds the chord normally while the right-hand index finger produces a beautiful and unique sound by hammering down on the string and pulling off very rapidly, rather hand plucking it. (The late George Kahumoku, Sr. called this same technique "Ki Panipani.")

The fourth slack key style is performance-oriented and features entertaining visual and sound techniques. These include playing with the forearm, playing with a bag over the fretting hand (as performed by the late Fred Punahoa and his nephew Led Kaapana) and the intriguing needle and thread technique, where the player dangles a needle hanging from a thread held between the teeth across the strings while otherwise playing normally; this creates a sound a bit like a mandolin or a hammered dulcimer. It can be heard on the fourth verse of the song, Wai Ulu, on Sonny Chillingworth's recording SONNY SOLO. This technique can also be seen in two great slack key films: Susan Friedman's KI HO`ALU, THAT'S SLACK KEY GUITAR on the song Kaula 'Ili by Sonny and in Eddie Kamae's THE HAWAIIAN WAY on an improvised piece by slack key guitarist Fil Secratario.

ORIGINS OF SLACK KEY

There are different theories about the beginnings of slack key guitar in the Islands. Music is one of the most mobile art forms. European sailors around the beginning of the 19th century possibly introduced Hawaiians to the gut string guitar--ancestor of the modern nylon string guitar.

Mexican and Spanish vaqueros (cowboys), hired by King Kamehameha III around 1832 to teach Hawaiians how to handle an overpopulation of cattle, brought over guitars. In the evenings around the campfire, the vaqueros--many of whom worked on the Big Island, especially around the Waimea region--probably played their guitars, often two or more together with one playing lead melody and the other bass and chords. This new instrument would have intrigued the Hawaiian cowboys, or paniolo, who had their own strong, deep-rooted music traditions. Given the long work hours, however, the Hawaiians probably didn't have time to learn a lot about this new music.

The vaqueros returned to their homelands a few years later and some gave their guitars to the paniolo. Geniuses of assimilation, Hawaiians wove what they had learned of the Mexican and Spanish music into their traditional chants, songs and rhythms and created a new form of music that was completely their own. Unique Hawaiian musical traditions were the dominant force in this guitar music, as they have historically been with other musical influences that have come from the rest of the world. Hawaiian music never stops evolving, and yet it always remains in touch with its deep roots and inspiration.

From the start, slack key guitar became a significant part of the music that the paniolo played after work or with families and friends at gatherings, and this paniolo tradition continues today on the Big Island and Maui. Many guitarists choose to play just for family and friends rather than playing professionally or recording. George Kuo, reflecting on his slack key mentors, points out, "Sometimes the older players would lock into a groove (keep the same tempo and feeling) and stay there all night." This can sometimes be heard in the playing of Ray Kane and Ni'ihau guitarist Malaki Kanahele.

At first there may not have been many guitars or people who knew how to play, so the Hawaiians developed a way to get a full sound from one guitar. They picked the bass and rhythm chords on three or four of the lower-pitched strings with the thumb, while playing the melody or improvising melodic fills on three or four of the higher-pitched strings with the fingers. The gut string guitar introduced by the vaqueros had a very different sound than the steel string guitar, which arrived later, probably brought in by the Portuguese around the 1860s. By the late 1880s, the steel string sound had become very popular with the Hawaiians, and slack key had spread to all of the Hawaiian Islands. To this day the steel string guitar predominates, although slack key artists Keola BeamerOzzie KotaniMoses Kahumoku and Bla Pahinui have also prominently used the nylon string guitar.

Until the mid-20th century, vocals were the most important element of Hawaiian music. The guitar was relegated mainly to a backup role, often grouped with other instruments. Played in a natural, finger-picked style with a steady rhythm, guitar was used as an accompaniment to hula and singing. The guitar usually did not play the exact melody of the song, but played a repeated fragment with improvised variations, often using ornaments such as hammer-ons, pull-offs and harmonics. In the latter half of the 20th century, however, slack key guitarists increasingly played an instrumental verse between some of the vocal verses, sometimes called the pane or answer verse, which had previously been played by the steel guitarist.

Since the 1960s, and especially in the 1990s, Hawaiian slack key guitar has evolved into a highly developed instrumental art form, in both solo and group formats. When played solo, the beautiful and unique intricacies of the slack key guitar can be most fully appreciated, as the music of each master has great depth and individuality.

KING KALAKAUA & QUEEN LILI'UOKALANI

The slack key tradition was given an important boost during the reign of King David Kalakaua, who was responsible for the Hawaiian cultural resurgence of the 1880s and 1890s. King Kalakaua supported the preservation of ancient music, while encouraging the addition of imported instruments like the 'ukulele and guitar. His coronation in 1883 featured the guitar in combination with the ipu (gourd drum) andpahu (skin drum) in a new dance form called hula ku'i. At his Jubilee in 1886, there were performances of ancient chants and hula. This mixing of the old and new contributed to the popularity of both the guitar and 'ukulele.

King Kalakaua's conviction that the revitalization of traditional culture was at the root of the survival of the Hawaiian kingdom became a major factor in the continuity of traditional music and dance. His influence still shows. This was a great period of Hawaiian music and compositions, when traditional music was actively supported by the monarchy. Kalakaua, along with his siblings W. P. Leleiohoku II, Miriam Likelike and especially Lili'uokalani, composed superb songs that are still well-known today.After King Kalakaua passed away in 1891, he was succeeded by his sister, Queen Lili'uokalani, who was Hawai'i's last monarch. Among her classic pieces areAloha 'OeSanoeKu'u Pua I PaoakalaniPau'ahi O KalaniAhe Lau MakaniHe Inoa No Ka'iulaniManu KapaluluQueen's JubileeQueen's PrayerKa Hanu O Ka Hana KeokiNinipo (Ho'Onipo)TutuHe Ai No KalaniKa Oiwa Nani and many other beautiful songs. These compositions are still deeply part of Hawai'i's music today.

One of Hawai'i's greatest and most prolific present-day song-writers, Dennis Kamakahi, has been deeply inspired by Queen Lili'uokalani. He says, "Queen Lili'uokalani and I have one passion, that is, the passion to write what we see and hear around us and transform these images into music. She has been the inspiration for me to write in the most poetical way, using the Hawaiian language she knew so well." With this inspiration, Dennis has composed many beautiful songs and Hawaiian standards such as Koke'eWahine 'IlikeaPua HoneKe Aloha Mau A MauKaua'i O ManoLei KoeleE HihiwaiE Pupukanioe and Ka Opae.

PHILIP "GABBY" PAHINUI

The most influential slack key guitarist in history was Philip "Gabby" Pahinui (1921-1980). The modern slack key period began around 1946 when Gabby, often referred to as "The Father of The Modern Slack Key Era," made his first recording. Gabby was the prime influence that kept slack key guitar from dying out in the Islands. His prolific and unique techniques led the guitar to become more recognized as a solo instrument. He expanded the boundaries of slack key guitar by creating a fully-evolved solo guitar style capable of creatively interpreting a wide variety of Hawaiian traditional and popular standards, original pieces and even pieces from other cultures. Gabby's beautiful, expressive vocals, especially his incredibly soulful falsetto, have also inspired many musicians.

The Gabby Pahinui Hawaiian Band of the 1970s is a good example of the complex sound that slack key can achieve with multiple guitars. Along with Gabby, this band featured the late great slack key guitarists Leland "Atta" Isaacs, Sr. (1930-1983), Sonny Chillingworth (1932-1994), and Gabby's sons, Cyril and Bla Pahinui. On the band's recordings, each guitarist usually played in a different C tuning (and Bla and Cyril played in D tunings tuned down to the key of C), providing a thick, multi-textured sound.

Gabby's five earliest recordings from the 1940s (78 rpms on Bell and Aloha Records) are especially impressive: Hi'ilawe (twice), Key Khoalu [sic], Hula Medley and Wai O Keaniani. (These have been reissued on THE HISTORY OF SLACK KEY GUITAR.) These recordings inspired and astounded many other slack key guitarists, given the level of Gabby's playing and because each song was in a different tuning. He also made more great recordings in the 1950s for the Waikiki label, which were mostly issued on three different albums: HAWAIIAN SLACK KEY - VOLUME 1, HAWAIIAN SLACK KEY - VOLUME 2 and THE BEST OF HAWAIIAN SLACK KEY. In 1961 the late Dave Guard of the first Kingston Trio, who grew up in Hawai'i and was inspired by Gabby, produced the beautiful album PURE GABBY, which was eventually released in 1978.

The release of several great slack key albums in the 1960s by Leonard KwanRay Kane, Atta Isaacs and Gabby Pahinui on Margaret Williams' Tradewinds label further increased the awareness and popularity of slack key guitar. These four artists, plusSonny Chillingworth, recorded in the 1950s, 1960s and 1970s, and influenced all the younger slack key guitarists. The next generation's three most influential slack key guitarists issued their own first recordings in the 1970s: Keola Beamer (solo and with his brother Kapono), Led Kaapana with his trios Hui 'Ohana and I Kona), and Peter Moon (with his groups The Sunday Manoa and the Peter Moon Band). Leonard, Ray and Sonny (until his death in 1994), continued to record and influence many others into the 1980s and 1990s.

SLACK KEY SINCE 1970

Since the early 1970s (often called the era of the Hawaiian Renaissance), Hawaiians have increasingly looked to their cultural roots, and because of this, slack key guitar has steadily grown in popularity. The Hawaiian Music Foundation, founded by Dr. George Kanahele, did much to increase awareness through its publications, music classes and the sponsoring of concerts, including the landmark, first ever slack key concert in 1972.

The slack key tradition is now at its peak. Currently, there are several annual slack key festivals held in the Islands. More slack key guitar recordings are now available throughout the world. More guitarists are giving concerts more frequently in and outside of Hawai'i, including on the Mainland, in Japan and in Europe. Additionally, slack key is gaining recognition in more institutional music settings. In 1998, Ozzie Kotani gave the first ever solo instrumental slack key recitals. With these developments, and with the techniques and influences of today's players expanding the range of slack key guitar, the future looks bright for ki ho'alu. It is a testament to the depth of the slack key traditon that it is one of the oldest music traditions to still be a viable (other than just historical) part of a modern culture, like Irish dance music and Spanish Flamenco guitar.