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Slack-key guitar is a fingerstyle genre of guitar music that originated in Hawaii. Its name refers to its characteristic open tunings: the English term is a translation of the Hawaiian ''kī hōalu'', which means "loosen the () key". Most slack-key tunings can be achieved by starting with a guitar in standard tuning and detuning or "slacking" one or more of the strings until the six strings form a single chord, frequently G major. ==History== In the oral-history account, the style originated from Mexican cowboys in the late 19th century. These ''paniolo'' (a Hawaiianization of ''españoles''—"Spaniards") provided guitars, taught the Hawaiians the rudiments of playing, and then left, allowing the Hawaiians to develop the style on their own. Musicologists and historians suggest that the story is more complicated,〔 For example, Elizabeth Tatar, "Slack Key Guitar," in ''Hawaiian Music and Musicians'', ed. George S. Kanahele, University Press of Hawaii, 350 - 360. ISBN 0-8248-0578-X〕 but this is the version that is most often offered by Hawaiian musicians. Slack key guitar adapted to accompany the rhythms of Hawaiian dancing and the harmonic structures of Hawaiian music. The style of Hawaiian music that was promoted as a matter of national pride under the reign of King David Kalākaua in the late 19th century combined rhythms from traditional dance meters with imported European forms (for example, military marches), and drew its melodies from chant (''mele'' and ''oli''), hula, Christian hymns (''hīmeni''), and the popular music brought in by the various peoples who came to the Islands: English-speaking North Americans, Mexicans, Portuguese, Filipinos, Puerto Ricans, Tahitians, and Samoans. The music did not develop a mainland audience during the Hawaiian music craze of the early 20th century, during which Hawaiian music came to be identified outside of Islands with the steel guitar and the ukulele. Slack key remained private and family entertainment, and it was not even recorded until 1946-47, when Gabby Pahinui cut a series of records that brought the tradition into public view.〔() See updated and corrected liner notes to the compilation CD ''History of Slack Key Guitar'', by Harry Soria, Jr., Jay Junker, and George Winston.〕 During the 1960s and particularly during the Hawaiian Cultural Renaissance of the 1970s, slack key experienced a surge in popularity and came to be seen as one of the most genuine expressions of Hawaiian spirit, principally thanks to Gabby Pahinui, Atta Isaacs, Leonard Kwan, Sonny Chillingworth, Raymond Kāne, and the more modern styles of younger players such as Keola Beamer, his brother Kapono Beamer, Peter Moon, and Haunani Apoliona. During this period, luthiers such as the Guitar and Lute Workshop in Honolulu specialized in the development and manufacture of guitars bespoke for slack-key performance. Many currently prominent Hawaii-based players got their starts during the Cultural Renaissance years: Cindy Combs, Ledward Kaapana, George Kahumoku, Jr., his brother Moses Kahumoku, Dennis Kamakahi, Ozzie Kotani, three Pahinui brothers (Bla, Cyril, and Martin), the Emerson Brothers and Owana Salazar. These artists, and slack key in general, have become well-known outside of Hawaii largely through George Winston's Dancing Cat Records record label, which has most often showcased the music in solo settings. One indication of slack key's increasing visibility beyond the Islands is that the first four winners of the Grammy Award for Best Hawaiian Music Album were slack key collections: ''Slack Key Guitar, Volume 2'' in 2005,〔 ()"Slack key wins first Hawaiian Grammy," by Tim Ryan, Honolulu ''Star-Bulletin'', February 14, 2005〕 ''Masters of Hawaiian Slack Key Guitar, Volume 1'' in 2006,〔 ()"'Masters' of the Grammy," by John Burger, Honolulu ''Star-Bulletin'', February 9, 2006〕 ''Legends of Hawaiian Slack Key Guitar—Live from Maui'' and "Treasures of Hawaiian Slack Key Guitar - Live in Concert from Maui." Players from outside Hawaii have also taken up the tradition, for example, Chet Atkins (who included slack key pieces on two of his albums), Yuki Yamauchi (a student of Raymond Kāne's and an advocate of Hawaiian music in Japan), pianist George Winston, and Canadian Jim "Kimo" West (perhaps better known as guitarist with "Weird Al" Yankovic). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Slack-key guitar」の詳細全文を読む スポンサード リンク
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