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(Fretted). The term "steel guitar" can refer to instruments with multiple tunings, 6 to 14 strings, and even multiple fretboards. To add even more confusion, the term "Hawaiian guitar" refers to an instrument played flat on the lap with a steel bar outside of Hawaii, but in Hawaii, it is the early term for the slack key guitar. Lorene Ruymar clears up the confusion in her new book that takes a look at Hawaiian music; the origin of the steel guitar and its spread throughout the world; Hawaiian playing styles, techniques and tunings; and more. Includes hundreds of photos, a foreword by Jerry Byrd, and a bibliography and suggested reading list.
Since the nineteenth century, the distinct tones of k&299;k&257; kila, the Hawaiian steel guitar, have defined the island sound. Here historian and steel guitarist John W. Troutman offers the instrument's definitive history, from its discovery by a young Hawaiian royalist named Joseph Kekuku to its revolutionary influence on American and world music. During the early twentieth century, Hawaiian musicians traveled the globe, from tent shows in the Mississippi Delta, where they shaped the new sounds of country and the blues, to regal theaters and vaudeville stages in New York, Berlin, Kolkata, and beyond. In the process, Hawaiian guitarists recast the role of the guitar in modern life. But as Troutman explains, by the 1970s the instrument's embrace and adoption overseas also worked to challenge its cultural legitimacy in the eyes of a new generation of Hawaiian musicians. As a consequence, the indigenous instrument nearly disappeared in its homeland. Using rich musical and historical sources, including interviews with musicians and their descendants, Troutman provides the complete story of how this Native Hawaiian instrument transformed not only American music but the sounds of modern music throughout the world.
This book is an excellent study of the history and unique musical stylings of the Hawaiian guitar. Stacy Phillips successfully pinpoints the characteristics of Hawaiian guitar solos. A special feature is the inclusion of a superb historical survey of Hawaiian music. Written in tablature only, G tuning. DeWitt Scott comments: There are two types of Hawaiian music, the 'authentic' style and the 'tourist' style. Stacy is presenting the 'authentic' style and this is much needed to keep the Hawaiian music alive.
"Published with the assistance of the Anniversary Fund of the University of North Carolina Press."
Volume 2 continues the exploration of the classic Hawaiian guitar solos from the Golden Age of Hawaiian music that began in Volume One of the Art of Hawaiian Steel Guitar. Contained here are precise transcriptions and playing hints of classic tunes like 'Hula Girl' and 'Kaala', by the greatest players like Sol Hoopii, the Genial Hawaiians, and many others. Together with the accompanying CD, this book is a great tool for learning this exquisite slide guitar style. Easy to use by both acoustic, resonator and electric slide players. A whole chapter of Hawaiian turnarounds is an added bonus. Most of the tunes are in major tuning but there are several in B minor and C6.
Written in Tablature and standard musical notation - Old Time Hawaiian Slack Key Guitar features 24 of the essential instrumentals every aspiring slack key player should know. These are the classic songs - played just as you'd hear them in a backyard kani kapila - full of interesting twists and turns, sometimes richly complex - but always nahenahe - sweet! A companion CD with all of the music is available.
Here, after years of preparation, is the most ambitious book ever written about Hawaiian music - its roots, popularity and influences in the world, leading personalities and groups, organizations, songs, and publications. The complete story is here, from ancient chants to the flowering of the musical renaissance in Hawaii nei. Nearly 200 illustrations add to the book's appeal for Hawaiian music fans and serious students. Many rare photographs of historical interest are among the illustrations featuring singers, chanters, dancers, and instrumentalists. Musical instruments are also featured in drawings and photographs. Melody lines, chants, and rhythm patterns are illustrated by music notation. The book is organized like an encyclopedia, with about 200 entries in alphabetical order. They include biographies of musicians from every period of Hawaiian musical history - from Henry Berger, David Kalakaua, Queen Lili'uokalani, and others of her time, to the great names of the first half of the twentieth century, and on to the performers and composers of today's Hawaiian renaissance. There are major articles on chant, slack key, steel guitar, 'ukulele, himeni, Hawaiian orchestras, falsetto, humor in Hawaiian music, radio, television, and the recording industry to name a few. Definitive essays tell the story of all ancient and modern musical instruments and the most loved and important songs of the last 150 years. Much of the material is new or original and fresh insights are brought to the more familiar topics. Some myths are dispelled, long-standing controversies discussed, if not settled. For instance, the book comes closer to answering the question "what is Hawaiian music?" than anything written so far. The work also contains and extensive annotated bibliography of works on Hawaiian music, and two discographies.