Chuck Cusimano
From:
Weatherford, Texas, USA
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Posted 22 Nov 2004 8:07 am |
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| I have played professionaly for over thirty years, and have worked with a lot of Great Steel players. I won't go into naming them all, for fear of leaving someone out. The times I remember the best were when we had time to rehearse and work up twin parts or even three parts for Kickoff's, turn arounds, endings, Riffs, and even fill licks. The best method I ever found for Twinning, is when both (or all) play single notes. It is much cleaner, and stands out better. One band I worked in was in Reno Nv. The Steel, the Fiddle and the Guitar, would work together one note each, and we could really make a statement. When anyone of the three covers more than one part,it starts getting cluttered, and confusing. The way we used to do it was, Whichever Instrument had the "Ride" or "Solo" when going into the "Head" of the riff, or Entro line, that instrument would stay with the Melody line and the other two would take the third, and the fifth to complete the full part. These parts would be pre arranged, or in the case of improvizing three parts, the other instruments would usually have the part down that they would normaly play. (When I talk about the third, and the fifth, in some circles they are known as the second part, and third part.) This is in my opinion, and not nessessarly right. |
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Jim McGinnis
From:
Owasso, OK USA
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Posted 22 Nov 2004 12:44 pm
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| Chuck, in my opinion three part harmony arrangements is what makes a band stand out. My band also did the three note arrangements. Most of the time I played the melody on the steel and the guitar and fiddle would wrap me. We did this because they had the greater talent and could do it easier. I also found that, depending on the sone, the C6th neck sometimes was easier for the harmony parts. Just seemed to lay better. |
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