Excellent new back up track and tab

clive swindell · From: Huddersfield, West Yorkshire, UK

I received a copy of a CD track and tab of 'Someday Soon' done by Tony Prior with Bonnie Prior on vocals and spent some time last evening studying it.

If you are an intermediate player and can work out the chord progression and the structure of the song then this is as good a back up lesson as you will find.

I believe he has done some other songs as well. He gives his e-mail as Tprior@carolina.rr.com

Tony Prior · From: Charlotte NC

Thanks for the kind words Clive. Glad you are enjoying the tracks..but it's Bonnie who makes the whole deal come alive.

Although I think that these offerings would be fine for a novice as well. I am including chord charts from this point on as well.

I do have a few Tracks/Tabs available at

TPrior/SteelGuitarHomesite

This last tune, Someday Soon is also the first project completed on the new Yamaha 16 tracker.

t

[This message was edited by Tony Prior on 02 July 2004 at 07:33 AM.]

clive swindell · From: Huddersfield, West Yorkshire, UK

Hi Tony

I am on a mission.

Nowadays, lots of people are doing steel CDs and giving/selling the tracks as well - excellent stuff.

But, why not give us the chord charts as well - saves so much time as you can't work out a melody without knowing the chord progression.

Perhaps - one day we shall get tab as standard as well?

Roger Rettig · From: Naples, FL

All this tuition material is very good, no doubt, but the most vital step in making musical progress is developing your 'ears'.

The most basic ear-traing is, in my view, figuring out chord-changes. If you're constantly having it done for you, your skills will develop more slowly. After 'changes', it's hearing a melody in terms of a note's position in the scale, and, after that, steel players (IF they want to copy another player's work exactly

) need to develop a perception (by listening to pedal-moves and bar-movement) of where on the neck the piece is being played.

Ear-training is easier for some than others, but essential nonetheless....

RR

[This message was edited by Roger Rettig on 07 July 2004 at 06:33 AM.]

Tony Prior · From: Charlotte NC

Hey Clive..good point and I am doing the charts on your next group as we speak..ahh make that type..I will send your itmes in a day or 2 when they are done.

Roger makes a fine valid point about the ear training, and I fully agree.

BUT..

Ya need to start somewhere and using some of the available materials allows the student or USER to hear and see the changes..That is what I call the reference point and at some point in time..folks should hear the changes and recognize the voicings and relationship of chords to each other.

But in the real world..some will get it down right away and some may take a little longer..

The simple packages that I produce here at home ( TAB,CD with several tracks) are aimed at those that just wanna' jump in, play along on a common known tune,play along with a Lead Guitar, play behind a lead singer, play solo's, chords etc...and get an understanding of what it is like to actually play in a band and with other musicians. Heck , on the package I am working on now (Crazy) there is even an entire chorus where the Steel sits out !

I am taking Clives request and adding full chord charts now as well, which I didn't do before.

Fun and learning at the same time..what a concept!

t

[This message was edited by Tony Prior on 07 July 2004 at 07:16 AM.]

[This message was edited by Tony Prior on 07 July 2004 at 07:46 AM.]

[This message was edited by Tony Prior on 07 July 2004 at 10:10 AM.]

Erv Niehaus · From: Litchfield, MN, USA

When I do my gospel tab, besides the tab, I include the chords, musical notation and the lyrics. When you combine this with the tracks CD, you have the complete package.

Erv

Charles Curtis · Posted 7 Jul 2004 7:08 am

I agree that it's more convenient to have the tab and here's why. I think that it's more than just difficult to figure out the exact way someone with many years of experience plays; just think of someone's personal mental "library" to extrapolate from. Remember Lloyd Green's lick in Alan Jackson's "Remember When"? Didn't that one have most of us stumped. I can play a lot with just the ABC pedals and a couple of knee levers but to me it's so much better to see just how that artist did it instead of fumbling around. I have a very hard time trying to follow an instructional video that does not have the tab. Anyone else?

Roger Rettig · From: Naples, FL

Of course - but my point is that the more you find things - or 'fumble around' - for yourself (chord-changes, and where a master steel-player plays certain licks), the better you'll become at doing it for yourself in the future.

I remain convinced that learning anything 'by rote' doesn't teach you very much, whereas digging around on the fretboard, and using your ears to locate what you're looking for, does.

No disrespect is intended to anybody - the level of a player's commitment is a personal matter; the important thing is to get joy from doing it....

RR

[This message was edited by Roger Rettig on 07 July 2004 at 01:40 PM.]

Charles Curtis · Posted 7 Jul 2004 3:30 pm

Let me offer this; does one "fumble" about when learning scales or what key is represented by the frets? Or when pressing A & B pedals, or B pedal and knee lever to get 7ths? It would take me a long, long time to figure out, for example, how John Hughey did "Look at Us" or some of his other stylings. I personally would rather have the original tab and spend my time practicing.

mtulbert · From: Plano, Texas 75023

I feel that the real eye opener is to look at Tab and figure out what notes are being played against what chord and then determine why it fits.

Once you get to that stage, you can "hear" and visualize what the steel player is doing and then figure out the lick.

As I progress, this happens more often then it used to when I was starting out, but I continually train my ear to hear the chords as the tune is being played. This also helps in determining what to play.

Regards,

Mark T.

Roger Rettig · From: Naples, FL

Charles,

'Fumble' was your word - I used it as a quote from your thread. Do you not consider ear-traing to be part of practising?

Time for me to rest my case, I think.

RR

[This message was edited by Roger Rettig on 07 July 2004 at 08:00 PM.]

Tony Prior · From: Charlotte NC

I'm thinking it's not an argument about ear training or fumbling. Both are an important entity.

Although I do not look at the Steel and figure out which string positions work with which chords, I do look at what pockets work, just like on the 6 string.

I don't look at the notes and say , ok all these notes work..but I do play phrases in pockets which fit the structure.

Learn and play a few scales in a few different positions and the pockets that fit the chord structure just sort of pop out at ya.

We have heard this stated by many of the most significant players..learn to play the same phrases, scales etc..in several positions..or as mnay positions that you can find.

Randy Beavers said something not long ago and I took his statement literally this past weekend. He plays C6th style phrases on the E9th..he said something like he just went over to the E9th and found the phrases note for note..they are all there, just in different places.( of course not the 8th Pedal change down to A.)

I took the C6th intro/ending of NIGHT LIFE..and moved it up to the E9th and now use it as the ending for Crazy..on the E9th. Yes it is a little odd at first..but heck,the whole guitar was odd at first !

I didn't learn the individual notes,just the position of the phrases..

So..if your progresing forward..I guess it doesn't matter which road you are on..but it is very important ( probably mandatory) to eventually be able to HEAR the changes and relate to where they are on the fret board thats for sure..

t

[This message was edited by Tony Prior on 08 July 2004 at 02:41 AM.]

clive swindell · From: Huddersfield, West Yorkshire, UK

Hi Mark

You are exactly right - if you have the tab and the chord progression you should then analyse why a particular lick fits where it does. Jeff Newman's 'Woodshed Workshops' are ideal for this. I often go back to one I havent used for a while and its amazing how much your understanding develops as time goes on.

Tony, what I also should have said in my original post is that there is a distinct shortage of practice material where there is another lead instrument that you have to work together with. This is what real bandstand work is like and your stuff seems to be helping fill this shortage.

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