Blocking

Lynn Oliver · From: Redmond, Washington USA * R.I.P.

I'm a dobro player and do a lot of left-hand and pick blocking along with some palm (right-hand) blocking. Mostly I don't consciously choose a particular blocking technique.

I've been working on some C6 lap on the side, and the instructional material I've seen tends to emphasize palm blocking primarily.

Is palm blocking an integral part of the style?

Jamie O'Connell · From: Medford, Massachusetts, USA

I think anything you can do to quiet strings that shouldn't be sounding is fine. I find myself using either in differnet situations -- pick blocking usually on single note stuff. Jerry Byrd was a proponent of palm blocking, but I have heard that Joaquin Murphey used soley pick blocking.

John Subik · From: Sun City, California, USA

Could someone explain what exactly pick blocking is? I played pedal in a previous life Mr. Green

and am familiar with right hand/palm blocking. How exactly do you block with a pick?

Hope it's not too stupid of a question, I have seen the term used in Andy Volk's book but am not sure what the technique is.

Thanks,

John

Lynn Oliver · From: Redmond, Washington USA * R.I.P.

It's probably easiest to explain with an example. Pick the first string with your index finger. Pick the second string with your thumb. At the instant you pick the second string, bring your index fingerpick back down on the first string to damp it. It's a good practice exercise to go back and forth between thumb and finger, blocking alternately with the one not picking.

John Subik · From: Sun City, California, USA

Thanks Lynn, got it. Appreciate the help.

Steinar Gregertsen · From: Arendal, Norway, R.I.P.

Rob Anderlik has posted a pick blocking excercise on his website:
http://www.robanderlik.com/Clips/Right%20Hand%20Blocking%20Exercise.wmv
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John Subik · From: Sun City, California, USA

Thanks Steinar! As they say "a movie is worth 10,000 pictures"

Cool

Lynn Oliver · From: Redmond, Washington USA * R.I.P.

Back to palm blocking... I was just watching a Cindy Cashdollar instructional DVD, and she teaches that the bar never leaves the strings. All of her blocking is done with her right hand.

It may be a moot point as far as I'm concerned, as I bring a lot of left-hand blocking along from dobro.

Ron Whitfield · From: Kaaawa, Hawaii, USA

"Cindy Cashdollar teaches that the bar never leaves the strings"

Them's fightin' words to some on this forum.
Overall, I totally agree.
But even the leading proponant of this thot, JB, occassionally lifted the bar, especially for open string playing.

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

When doing single string runs across different strings with the nose of a bullet tone bar, the bar is often off the strings. Whatever works seems to get the job done.

Lynn Oliver · From: Redmond, Washington USA * R.I.P.

Ron Whitfield · From: Kaaawa, Hawaii, USA

The essence of the theory is the typical, less is more, in that the less unneeded movement is always better, and allows more focus on what's neccessary.
But many great steelers have done it their own unorthodox ways, and it's hard to fault success.

Edward Meisse · From: Santa Rosa, California, USA

I can't get into detail on this because I'm still working out how things work for me. I use all of the above blocking techniques. I think that what technique will work best for you depends at least in part on your style of play. I go pretty heavy on left hand blocking for single string play which is most of what I do. I go very heavy on palm blocking for double and triple stops. I use pick blocking for staccatto passages. That's the general overview. I do this whether I'm playing the tricone or the electric. I have to admit feeling much more comfortable on the tricone.
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