Hawaiian Licks II: When, Where, And How Many?

Mat Rhodes · From: Lexington, KY, USA

I find that when I'm in the "licks for repertoire" portion of my (non-group) practice sessions, I gravitate toward trying to memorize them exactly as they were recorded by the original steeler. That way, I have something to bring to the table while I'm not singing and, hopefully, it sounds Hawaiian enough to fool the more learned listeners.

The trouble with this approach is that when we attempt songs for which I haven't aped the original phrases, I sound like I'm "winging it" and the results, in my mind, are amateurish at best. So what do you seasoned guys do in that situation? Do you have a stock of, say, The Twenty Best Hawaiian Licks For All Occasions? Or is this something that only time and experience will cure?

Mike Neer · From: NJ

When all else fails, play the melody.

For me, improvising is the real joy of playing music. I try to improvise and keep things in context, that's all. I don't know any stock licks.
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Links to streaming music, websites, YouTube: Links

Denny Turner · From: Oahu, Hawaii USA

It occurs to me that the "amatuerish" you feel might very well be what most Steelers feel, ...even in Hawaii, ...particularly if trying to emulate or copy the old Hawaiian sound / style, and are aware there's something very distinctly "Hawaiian" about it's sound / styles.

I don't think it's a matter of "licks", ...but a matter of sound & style. You will notice that a number of famous Hawaiian Steelers didn't have a big repertoire of licks; But were more akin to Mike's posting above, in playing the song with their own Hawaiian sound / style rather than licks. Case in point is the myriad of ways Hawaiian Steelers played the "Hula Turn-around" ...often differently for verses in the same song!

I've been playing music for 49 years now, ain't no slouch, and have been trying to play "Hawaiian" since picking up Steel 16 years ago, ...and studied under Jerry Byrd at Harry's Music Store in the early 1990's; ...And yet am the first to admit that I STILL sound like a Ha'ole with way too much American Music that influences my trying to play genuine "Hawaiian".

I think playing genuine "Hawaiian" sound / style is a matter of exposure to and comprehensivly studying and practicing it. Jeff Au Hoy has made a number of statements to that effect on the SGF ...and Jeff's about as "Hawaiian" sounding as it gets; Although I take exception with his intimating that a person "needs" to be or live Hawaiian to get it (although I agree it certainly helps). I think studying that Hawaiian sound & style should include searching and reading everything Jeff has said on the SGF; He's "dead" serious about it and has provided a treasure trove of details and nuances in many of his postings. A wise follow up would be searching out the word "hawaiian" on the SGF.

One of the best means I know of to get the requisite exposure to the Hawaiian sound / styles of Hawaiian Steel Guitar, ...is to listen to it's rather broad range of individuals' sound & styles as much as possible, letting it run in the background of daily affairs as much as possible; And JAMMING along with it whenever doing so is enjoyable (not compelling). And I can tell you that it takes ALLOT to start noticing / hearing the many nuances that make it what it is. Of course allot of studyijng and woodshedding is required. A player can get that exposure by letting Honolulu's radio station KKNE's live online streaming run as much as possible; It's about a 4 hour loop that's not changed all that often:
http://am940hawaii.com/

In KKNE's loops, I find learning to pick out the older Waikiki Beach sound is particularly rewarding in hearing "Hawaiian", as is Gabby Pahnui's music (among others'); (While the little bit of more recent stuff played over canned midi-loop music is almost embarrasing ...to my ear anyway; But good to be able to differentiate between what sounds particularly "good" or not).

In the meantime, ...had Mike not said what he did so well, then I would have ( probably not so well ! ). And similarly, on the other side of the "Hawaiian" coin, ...Jerry Byrd made it a point to instill that it is much more important to develop and play your own style, than copying another style; Although, I feel certain such advice in his hammering manner was toward learning and development, ....and don't think he meant to ignore the studying and woodshedding it takes to even imulate another style genuinely; And I certainly think Jerry meant to promote and appreciated a player's comprehensive study and replication of the Hawaiian sound / styles of music he dearly loved which inspired his playing from it's very beginning; After all, his course is full of Hawaiian tunes. And although I never heard nor heard-of Jerry ever suggesting an Individual's style as one to immulate, ...Jerry was quite keen on the players and masters who had that "Hawaiian" sound. It's even been said that Jerry himself didn't have the "Hawaiian" style; Although I think such opinions are poppycock wishful thinking.

One thing that has always stood out in my mind, because Jerry pounded it in, ...was his admonition to depart from a note toward the next note just as soon as a note is struck, ...a non-binding habit which trains the playing to have as much room for nuance as possible between notes. In making that point Jerry would tell the accounts of fellow professional musicians saying his playing was "scarey" in the suspense he left in their wondering if he'd ever make it to the next note. Having that space / time by habit, leaves the room neccessary to play the nuances of Hawaiian sound / style.

.....imho.

Aloha,
DT~

Scott Thomas · Posted 27 Apr 2007 10:22 am

I've always thought that Hawaiian music was about the most "licks oriented" type around. That's why it was so much fun for players like Jerry Byrd to do Dick McIntire impressions and Jules Ah See to do his impressions of just about anyone. The greats all had trademark stock (if you will) or perhaps "signature licks" that make them the music personalities they are.

If someone wants in invoke the feel of the great 30's thru 50's golden era, I think you have to stock up on as many of those licks as you can, then mix and match them along with the great tone and feel which is ultra important.

Eventually, I think your personal style will evolve out of that.

Listen to the great contemporary players today like Derrick, Bobby and Jeff. If one is a discerning listener, it's great to be able to pick out a little bit of "Feet" Gabby, Pua, Billy et al.

I don't think that by copying, that anyone is in danger of being called a clone of anyone of those greats. (In your DREAMS!)What you want to avoid is becoming a second rate imitator of the original.

But there is a huge well from the past to draw from. I think if you stay at it and are dilligent, your own personality does evolve if you have the musical gift.

I don't feel that I do, because it comes with so much more seeming difficulty to me than with others who just seem to "get it". I'm would be satisfied to be called a second rate imitator. I get joy and satisfaction copying off of records and getting as close to a perfect imitation as I can. That would be an extremely low bar for someone like Mike Neer who actually is a thinking, creative musician and strives for his own identity and place among the great names.

Mike Neer · From: NJ

Jesse Pearson · From: San Diego , CA

Imitation, assimilation, innovation. Same with all instruments and all styles.

AJ Azure · From: Massachusetts, USA * R.I.P.

probably to my detriment I have never learned stock licks. just listen, listen, listen. i find myself channeling Bix Beiderbecke lately as it's what I listen to mostly. Think about it. Those original guys like Sol H. listened to and emulated horn players.

however, this is my current learning project

http://pubcs.free.fr/jg/jazz_trumpet_transcriptions_jacques_gilbert_english.html

Ray Montee · From: Portland, Oregon (deceased)

I always tho't it was neat when the steel player on Hawaii Calls would make one of those HULA TURNAROUNDS. THEN, as I got into JERRY BYRD's Hawaiian music, I noticed how many variations he had up his sleeve.

When I made that series of Hawaiian CD's with MANNY K. Fernandez, all three by the way, were first place category winners........ One of the tunes had about 28 of those turn-arounds. Playing the same one all the time would have been the pits. So, I just winged it and as exciting as could be, MORE and MORE variations came to mind. Some, I can't even go back and duplicate.

THAT is the FUN of playing steel guitar. Having exhausted by HULA TURNAROUNDS, about three songs later, Manny did another tune with nearly as many of those required turnarounds. My mind finally went blank, I'm sorry to say.

Andy Sandoval · From: Bakersfield, California, USA

Here are some cool licks I remember seein on the old forum. Hawaiian Vamps

Mac McKenzie · From: Auckland, New Zealand * R.I.P.

Matt - if you have Hawaii Calls version of Hula O Makee Jules plays a different vamp or " tag " after each verse, about 7, from memory. Kalena Kai gives a few more, one with triplets which are handy at anytime. ( And impressive .) I never tire of listening to Jules playing. If I were allowed only 1 LP it would be Hawaii Calls "Fire Goddess" - everything I love about Hawaiian music is there - especially Jules.

Mat Rhodes · From: Lexington, KY, USA

Ray,

Dumb question, but...

(1) did Manny K. record with you on the mainland or did you fly out there?

(2) did he cut & paste some of the licks from one song to reuse in another?

Ray Montee · From: Portland, Oregon (deceased)

Manny made all of the recordings right here in Portland, Oregon. It was at the Blue Dog Studios.

There was no dubbing of "licks".......but after I left, they did insert a piano and snare drums.......

Manny lives in Aloha, Oregon.

Bill Creller · From: Saginaw, Michigan, USA (deceased)

Last evening, Derrick Mau called me, and we talked about how many variations there have been to the "hula turn around", too many to even think about counting, and with 2/4, 3/4 and other timing, they are very numerous.
Also, each old time steel player had his own version it seems.

Dale Lee · From: Down Yonder

A dummy's questions: What is a hula turnaround? Is there any tab for an easy version?

Dale Lee · From: Down Yonder

A dummy's questions: What is a hula turnaround? Is there any tab for an easy version?

Rick Aiello · From: Berryville, VA USA

Dale ... the "main part" of these vamps (hula turnarounds, whatever) ... is the ending.

The vast majority end in ... 4 5 7 1

EX: Key of A

D E G# A

What comes before is were all the variations come in ...

Some do throw a 2 (a whole step above 1) in between the 7 and 1 ...

EX: Key of A

D E G# B A

Chord wise ... II7 V7 I ... or ... ii7 V7 I

TAB: Key of A ...

A6 Tuning (Hi to Lo) ... E C# A F# E C#

E -------------0--4-5 --
C# --3--2--1------------

or

E ------0-----0-------0--4-5 --
C# --------2-----1--------------

or

E -------0-----0-------0--4-5 --
C# ---3-----2-----1--------------

or

E ----797*------0------0---4--5----
C# ----------7-----------------------------
A ------------------5---------------------

or

E ----797*------7------0---47*--5----
C# ----------7-----------------------------
A ------------------5---------------------

* Fast sliding slur

Watch Mr. Hew Len "tear some off" on the second part of this medley ...

http://www.hsga.org/forum/cgi-bin/yabb2/YaBB.pl?num=1177695075

Hope that helps ... I'm not too swift at writing tab Embarassed

Dale Lee · From: Down Yonder

Thanks, Rick. Very helpful!! I have printed this out and will experiment with it a little later tonight.

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