(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. Includes access to online audio.

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.

In this book, Robert L. Stone follows the sound of steel guitar into the music-driven Pentecostal worship of two related churches: the House of God and the Church of the Living God. A rare outsider who has gained the trust of members and musicians inside the church, Stone uses nearly two decades of research, interviews, and fieldwork to tell the story of a vibrant musical tradition that straddles sacred and secular contexts. Most often identified with country and western bands, steel guitar is almost unheard of in African American churches--except for the House of God and the Church of the Living God, where it has been part of worship since the 1930s. Sacred Steel traces the tradition through four generations of musicians and in some two hundred churches extending across the country from Florida to California, Michigan to Alabama. Presenting detailed portraits of musical pioneers such as brothers Troman and Willie Eason and contemporary masters such as Chuck Campbell, Glenn Lee, and Robert Randolph, Stone expertly outlines the fundamental tensions between sacred steel musicians and church hierarchy. In this thorough analysis of the tradition, Stone explores the function of the music in church meetings and its effect on the congregations. He also examines recent developments such as the growing number of female performers, the commercial appeal of the music, and younger musicians' controversial move of the music from the church to secular contexts.

Hawaiian slack key guitar (Ki Ho'alu) is one of the world's great acoustic guitar traditions. This tradition includes virtuoso guitar pieces, but the majority of songs played slack key are classic Hawaiian melodies either played as instrumentals or as accompaniment to vocals with instrumental breaks between the verses. the term slack key does not refer to a type of guitar, but rather to any guitar played in the slack key style, that is, in alternate tunings with slacked strings and fingerstyle technique. Acknowledged slack key master Keola Beamer is a member of a family known for its musical artistry for generations. We are fortunate to have him writing in conjunction with veteran Mel Bay author, educator and multi-instrumentalist Mark Nelson, who simply followed his love of the music to the Islands. Written in standard notation and tablature to accommodate numerous alternate tunings, this book is presented in four sections: 1) the most common tuning introduced by fairly easy songs; 2) Illustrations of how to build your own arrangements; 3) A presentation of various slack key tunings; and 4) A selection of duets in the slack key style. Historical and cultural insights are offered throughout in the spirit of aloha, producing an informative, musically enlightening book with soul and humor. the companion CD features tuning tracks and informal introductions of the audio content by the authors, plus some beautiful slack key music.

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.