Cyril Pahinui, son of musical legend, Gabby Pahinui, is, in his own right, one of Hawai’i’s most gifted guitarists and singers. Cyril has twice played at Carnegie Hall, has contributed to three Grammy Award-winning compilation albums, was nominated for another for his 2007 solo album “He’eia”, has received numerous Hoku Hanohano Awards, and has recorded on more than 30 Hawaiian musical releases. As a Master slack key guitarist, Cyril’s technical virtuosity, rhythmic adaptations, and instrumental harmonics impart the soul of Hawaiian music, and his beautiful, emotive, and well-recognized voice renders an intimate picture of his Pacific island home.

As a traditional master of Kiho’alu, Cyril instructs in the kanikapila style. Nana ka maka; ho’olohe ka pepeiao -watch with the eyes, and listen with the ears. Thus one learns. This traditional method provides the perfect instruction to this rich tradition. Students of all levels will be guided through simple exercises and solos to create the “slack key” sound.

Slack key can be played on any guitar, acoustic or electric. The term refers to both the musical style and the myriad ways the instrument is tuned. Cyril teaches several traditional tunings and focuses on those that originated in his family. Students of all levels will be guided through simple exercises and solos to create the “slack key” sound. In addition, you will learn the use of vibrato, harmonics, slurs, harmonies in thirds and sixths, legato playing and other musical ideas that have helped create a distinctive guitar sound.

Students will also gain a deeper understanding of Hawaiian music and Hawaiian slack key guitar as Cyril shares his knowledge of one of the world’s great acoustic guitar traditions. A brief history introduces the student to Hawaiian music styling and slack key’s specific context. Featured songs are selections traditionally performed by the Pahinui family. Each has specific techniques and ideas that will enhance and improve the student’s skills and add variety and uniqueness to each individuals playing. These songs and slack key guitar pieces reflect stories of the past and present and people’s lives. Historic and place context, insights on the composer and theme are also explored. All ages and skill levels are welcome. Students must bring their own guitar. The introductory series is scheduled for Oct 26, Nov 30, and Dec 21, 2 sessions each day at 4:30 and 6:00pm $40 per Session. For more information, or to register please email Cyril directly at: cyril@cyrilpahinui.com.

ASCAP and BMI have traditionally collected public performance royalties on behalf of publishing companies and songwriters. With the emergence of a relatively new copyright revenue stream from digital music service providers (e.g. Sirius and XM), an additional performing rights organization called SoundExchange was born. However, unlike ASCAP and BMI, SoundExchange still remains relatively unnoticed.

Here’s the short story, if you are a featured performer or sound recording owner of a recording that has been bouncing around the airwaves, there may be royalty money waiting for you at SoundExchange. Here’s a link to the list of artists who are owed royalties:

http://63.236.111.137/jsp/unpaidArtistList.jsp

SoundExchange’s website:
www.soundexchange.com

1. Warmer Days
Winters have been one of the more difficult aspects of being in New York. I tend to miss home more in the winter. I wrote this song as an optimistic piece, thinking of the “warmer days” in Hawaii. Several of the songs on the album were inspired by this climate theme. It’s a clear, strong, developed emotion to be in a cold place, both in climate and social culture, and at the same time think of home.

2. Lisa’s Lullaby
This song was inspired by my wife, Lisa. It has a bossa nova rhythm part with a sweet melody on top. It’s not quite a lullaby, but I liked the title so much I kept it.

3. Meditation
I wrote this piece almost as a static ki ho`alu composition (slack key). I envisioned a meditative state, perhaps sitting on a mountain, alone. It’s introspective, and I find myself being introspective when listening to this piece.

4. New Seasons
Another weather piece. There is so much contrast between Hawaii and New York. This song moves from winter to spring, the harmonics (sounding like high pitched bells) remind me of new buds, new life. It’s a hopeful song; new seasons are hopeful.

5. February Snow
This is one of the most vivid pictures of any songs I’ve written. I was sitting in my apartment on Mercer Street. The snow was falling lightly outside my window. It was silent, a winter silence. In some ways it was majestic; in other was it was melancholy.

6. Arrival
I wrote this song during a gig in California. I was the dinner music during a dinner theatre in Claremont, California. At the time I didn’t have enough pieces in my memory, so I started “noodling” with the instrument. This piece jumped out. It took my a couple years to actually accept it as a piece of music, since I always thought of it as messing around on the guitar. It has a little bit of slack key influence, but doesn’t really sound like it’s straight out of Hawaii. My music tends to be that way, and I’m very happy about it. You can hear elements of Hawaii in my music, but it’s not typically Hawaiian. Since that’s what I am, part Hawaii, part California, part New York, I like that my music actually sounds like a combination of my background.

7. Sunshine
Sunshine was a short ditty that I wrote in my apartment on 10th Avenue. I wanted something bouncy, to contrast with the rest of the album. I wanted my playing to sound a little “dirty,” as opposed to clean, but I just I’m not really capable of that. It still came out sounding sort of sugary, so I called it Sunshine.

8. Come Home
I wrote this piece while Lisa was on a trip. I was sitting in my apartment, a little bored, a little lonely. So, I wrote this song as a way of saying “come home.” Well, she came home, but the song didn’t make it happen any faster.

9. Ka`a Slack
I wrote this piece in high school. That was an extremely developmental period of time for my music. I studied with Lisa Smith, Barry Flanagan and Bobby Moderow. During that period, I picked up the guitar every night, played constantly, and asked everyone I knew to teach me. I had been playing seriously for about a year when I wrote the song. I tried to make it sound like driving and running into a traffic jam. The middle section represents horns honking. When I recorded the song for the album ten years later, I thought it needed a little flavor in the beginning, so I added the intro.

10. The Leaves Have Fallen
This is a song about the transition from Fall to Winter. It’s another melancholy song. The change from fall to winter is a little depressing. The warmth dissipates; the trees go barren. It completes the seasons on the album. I wrote the pieces on the cd over a span of two years, with the exception of Arrival and Ka`a Slack. So, I hit a lot of seasons during the course of writing.

11. Soon
This is the second solo slack key piece. I heard a song by Keola Beamer in a strange F tuning. I thought the tuning was so interesting that I just had to write something for myself. Since the tuning is obscure, I haven’t played the song since recording it. I’m not even sure if I can still play it.

12. Stillness
This is the first song winding down the album. Everything is slowing down, coming almost to a complete halt, but not totally.

13. Goodnight
This is truly the end of the album, the end of the day, the end of a season, the end of an era. I vividly remember calm nights in Hawaii, stars out. I’ve written several of songs with words drawing on those calm Hawaiian evenings. It’s such a magical place, especially at night, and especially in contrast to a place like New York. The harmonics in the song represent stars; the song drifts into dreams.