"Anatomy Of Touch"!

Reece Anderson · From: Keller Texas USA, R.I.P.

"Anatomy Of Touch”!

Acquiring an acceptable touch is not only the most important, but the most elusive and difficult thing to achieve relative to playing. At first glance the principle of playing steel guitar may appear to be simple for each hand, but as we know, the intricacies of touch and technique are demanding and unforgiving.

The difference between players sound/tone, is without question “touch” related. To prove this all one need do is listen to different people play the same guitar with all the same equipment and amp settings, and you will hear different sounds/tones.

For such a phenomenon to exist, logic dictates there has to be identifiable determining factors within the “anatomy of touch”. I believe the determining factors of touch are within the collective specific elements, and when the variations of each are determined through experimentation by the player, the end result will reveal the unique “touch” of each individual.

I thought it could be helpful to share the "check list" I use when teaching for your consideration. .

LEFT HAND:

Bar Weight (amount of pressure applied to the strings)

Weight distribution (weight across all strings)

Position of the bar on the strings. (if playing the bottom strings, is the higher strings being fretted also, or if higher strings are being played, is the weight on the bottom end more or less than that of the high strings.)

Position of the index finger on the bar. (which can add or subtract weight and affect control)

Position of the thumb, which could provide stability by eliminating “yaw” on the back of the bar.

Positioning of the trailing fingers behind the bar.

Consider weight reduction/procedure on the back end of the bar.

Bar speed manipulation

Width and speed of bar vibrado

RIGHT HAND:

Pick selection for fingers and thumb (consider comfort, mass, and weight)

Number of finger picks (2 or 3)

Adjustment of finger picks. (tightness and fitting angles)

Depth of picks on fingers

Amount of angle on the finger picks (pitch)

Entry angle of picks into strings

Positioning of the index and little finger (leave either or both straight or curled under)

Configuration of hand relative to finger pick angles

The amount of "pull" pressure by each pick when playing

The amount of thumb "pushing" pressure when playing.

Positioning of the fingers and thumb relative to the pickup.

Distance between thumb and index finger when playing

String dampening procedures. (picks, back of hand, or both)

Does pick angle change when playing different strings.

Does the flat surface of all your picks contact the strings

Angle of fingers between picks and middle of fingers

Is the bottom of the hand resting on the guitar

Much could be written and discussed about the inner workings of each component of touch, and different opinions could be debated forever. However, it’s important to remember than each opinion, no matter how well meaning, is based on what works best for that specific individual, and just because something works best for them, does not mean it will work best for you. In the final analysis “touch” must be acquired by experimentation until the right combination of components are found that “feels” the most natural to YOU!

We all know a great player can sit behind any steel guitar and get an exceptional sound. How can this be.............it’s their “touch”. Observing the greats while playing will reveal different variations of the parameters listed above, all of which comprise the unique touch they each have acquired.

The successful variations of the greats over the years has proven without question there is many ways to achieve “the touch”. The end result of all components relative to “touch” when applied to each unique player, creates a definitive musical signature which will be uniquely identifiable for a lifetime.

An awareness of the “anatomy of touch” has the potential of shortening the search for “touch” and making the entire playing experience much more enjoyable and rewarding.

I welcome suggestions of other components within the anatomy of touch, and encourage discussion concerning the specifics of the elements.

Scott Henderson · From: Camdenton, Missouri, USA

Reece,
I always enjoy and learn from your posts and I appreciate them. I would agree that trying to decifer a specific method would be difficult as
a steeler players touch is as unique as his finger print. In fact I would say it is his finger print.
The check list you use is awesome! I met a new steeler and presented him with a condensed version of "The checklist" and noticed the improvement immediately. Mainly no string rattle and a deeper richer tone. It truely is all in the hands.
Just my thoughts and agreements...
Thanks
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Bent Romnes · From: London,Ontario, Canada

Hi Reece,
I consider these 2 1/2 screens full of r&l hand technique to be a condensed version of 50+ years worth of experience. In other words, super valuable to all of us!

So I have to ask you: Are you just looking for suggestions and discussion on your myriad of great points mentioned, or would you be willing to give advice on these as well? It might be a tall order. You see, I have several issues I would love to home in on and possibly get some expert advice. I will mention 3 serious issues:
*My left middle finger is cut off a half inch above the middle joint.
*I have an old injury to my left arm(radial nerve crushing injury in 1995)
* My age (63) which I feel puts me somewhat behind the 8ball.

I would appreciate a serious response from you as to whether or not my issues would be of interest to this thread or if it is beyond the scope of this piece of teaching. Thanks!
Bent
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Clyde Mattocks · From: Kinston, North Carolina, USA

Good thread. Why is it that some people seem to "have it" early on? I have seen young students, who even with a very limited repertoire of moves still be able to get a professional sound. The criteria that Reece outlines is right on, but there are players who study and practice these tecniques endlessly with little apparent success.

The story is told about a young Mark O'Conner being taken to a violin recital and telling his parents, "I can do that." Some people just inherently grasp the nuances.
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Kevin Hatton · From: Buffalo, N.Y.

Reece, since we are over analyzing here, here are a few more things to consider:

1) Did I eat a piece of fried chicken with my fingers before playing my steel?
2) If two steel players,one leaving from New York and the other leaving from Los Angeles leave at the same time, what time will it be before they both play Mansion On A Hill at a steel guitar convention?
3) If Mary's daughter is my daughter's mother, what relationship am I to my steel guitar?
4) What's the shelf life of coke?
5) Is Spam really a food?
6) How come so many indians in the 60's movies were played by Italian or Jewish guys?
7) What was the name of the first girl who played the movie star on Gilligan's Island before Tina Louise took her job.
8) Do I really need two necks on a steel guitar?
9) What's the atomic weight of Polonium?
10) Was the guy who played Shultz in Hogan's Hero's really German?

Reece Anderson · From: Keller Texas USA, R.I.P.

Scott H......Thank you for your very kind comments.

Bent.....I always invite suggestions. There have always been those who have helped me every step of my musical journey, and the least I can do is give back to others who ask. In so doing, all I ask is that they too give back to others.

I will always be happy to respond, although at times my response may be delayed because of commitments.

I think your issues are of interest to others because many have issues. I was born with a crooked little finger on my left hand which inhibits harmonics, so I had to learn to use my ring finger. In addition I consider teaching to be an integral part of sharing with others, and I appreciate your willingness and trust by sharing your issues and questions.

In response to your (to use your words) serious issues.

1. I don't see the middle finger of the left hand as anywhere near an insurmountable issue. That along with the ring and little finger are what I refer too as "trailers, and their primary function is to eliminate overtones. The middle finger is normally the left "capture" of the index finger. This can be overridden with the ring finger moving slightly to the right so as to stabilize the bar. It would take practice when lifting the bar, but that's something that should only be done when playing open strings or doing hammer offs.

2. Before providing my opinion concerning your left arm, I would need to know more about your physical restrictions. However I have taught many with "restrictions" and I have witnessed that determination and a positive attitude will allow goals to be achieved.

3. I learned long ago, that everyone younger than me thinks I'm old, and those older think I'm young....so as far as I'm concerned I'll always be in the middle. I believe age can be circumvented with desire, determination, enthusiasm and a positive attitude.

Some of the greatest musical masters in history lived well into their 80's and 90's and created their greatest works. So, I don't view age as anything other than a natural process we are blessed to live and enjoy.

Reece Anderson · From: Keller Texas USA, R.I.P.

Clyde.....it's true some catch things quicker than others, but it's also true some seem to be luckier than others. Mainly I've seen those who "seem" to "become" lucky because they have a positive attitude, enthusiasm and they practice in such a way as to create progress.....

Kevin H......to continue with the analyzing::
What is your thought process when making such comments.
What is your motivation for making such comments.
What are you trying to say.
What are you trying to achieve.
What are you trying to prove.

Kevin Hatton · From: Buffalo, N.Y.

Reece, have you been reading Sigmund Freud lately? You sound like a shrink. I think I have Pedal Steel Envy.

Steve Alcott · From: New York, New York, USA

Thanks, Reece. It's very useful to have these two most important aspects of playing broken down into small increments. One of my many issues is that my middle picking finger is stronger than the index, especially in chordal playing. I now have several things to look at and experiment with in my quest for consistent attack. This reminds of one of my double bass books that takes the most problematic part of bowing and breaks it down to its most basic elements.

Kevin Hatton · From: Buffalo, N.Y.

Reece, should I lay down on the couch for this? Is it going to take long because I've got to tune my guitar. I'm using one of those number charts and it takes me a long time to look at the meter. Some times all day.

Fred Shannon · From: Rocking "S" Ranch, Comancheria, Texas, R.I.P.

KH: "I think I have Pedal Steel Envy."

Yeh I'll bet you do.

Reece, thanks for the info.

phred
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Kevin Hatton · From: Buffalo, N.Y.

Fred, I meant Lloyd Green. Really. Reece, do you charge by the hour or by the session?

David Griffin · From: Jimmy Creek,Arkansas via Cowtown, USA

Reece: Thanks for the interesting post. I've always had trouble balancing(both in tone & volume)the notes I play w/ my thumb against the note(s) I'm playing with my fingers. I've tried every thumbpick I can find & the only one I can be comfortable with is the "blue" Herco. I should mention I do a lot of trio work,playing both steel & guitar,switching on the fly.Finding a thumbpick that works for both is (for me) hard to do. Any thoughts or advice? Thanx>>>dg
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David Griffin · From: Jimmy Creek,Arkansas via Cowtown, USA

Kevin: This bordering on harassment.NOT funny!SOME of us are interested in what Reece has to say & he deserves more respect than that. Mad

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Kevin Hatton · From: Buffalo, N.Y.

David, I am enititled to ask questions here. I am a Forum member. I resent your inference. My friends and I are blowing up watermelons with M80's here on the back porch and I'd like to participate in this discussion. I have rights.

Kevin Hatton · From: Buffalo, N.Y.

If Edward Sissorhands played pedal steel do you think he would have owned a mica guitar?

Bob Simons · From: Kansas City, Mo, USA

It is nice to see this topic intelligently discussed. My right hand was originally trained in classical guitar which is obsessive about tone, note creation, expression, and termination. Although my hand rebelled at the "arthritic" position required for finger picks and palm locking (classical players more typically block with their finger tips)- I definitely benefited greatly from the classical guitar attention to detail in right hand execution.

I'd suggest steel players start by not using a volume pedal all the time and learn to vary tone and dynamics with your hands...
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David Griffin · From: Jimmy Creek,Arkansas via Cowtown, USA

Kevin Hatton,quote:"David, I am enititled to ask questions here. I am a Forum member. I resent your inference. My friends and I are blowing up watermelons with M80's here on the back porch and I'd like to participate in this discussion. I have rights."unquote. Very Happy

Kevin: No where in my post did say any of the things to which YOU are inferring. Seriously,do you really think any of the questions you have posted have ANYTHING to do with the topic? I'll shut up now & let you have your fun. Mr. Green

It's about time for EJL to show up,anyway!
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Bent Romnes · From: London,Ontario, Canada

Reece Anderson · From: Keller Texas USA, R.I.P.

Steve A.....You might try manipulating the attack sensitivity of the dominate pick by slightly increasing the pitch which reduces pick bite and removes force. Hope that helps........

Fred S.....Thank you for the kind comment my dear friend.

David G.....I understand you comment perfectly. When considering metal finger picks, that suggests a treble sound, and thinking of a plastic thumb pick, it suggest a more mellow sound. This is why I prefer a low mass thumb pick which is fairly small and thin.

Finding a thumb pick which works for both steel guitar and guitar may be difficult. If I were making a search like that, I would first find the pick that best suits my primary instrument, then try to home in on one that works for both. Thank you for your question.

Bob S....I would have to say you should have a great advantage because of your Classical training. Although direction of picking is totally different, I believe you can find common ground that would make your prior training very useful.

Reece Anderson · From: Keller Texas USA, R.I.P.

Bent R.....Does you bar touch the palm knuckle of your index finger, if so I can't envision why you can't achieve adequate bar pressure.

I can envision a situation in which you need to move your left ring finger to the right to stabilize your bar. If we could think of something which slips over the end of your ring finger that eliminates that space, that could solve your problem. I'll be thinking about that, and you do the same.

Just for experimentation have you tried a much smaller bar which is heavy?

Your blessed that bar slants are easy for you because they are difficult at times.

Your "ring" idea may be a good one, but were I to be in your place, I would experiment with other options fully before doing that.

Bent Romnes · From: London,Ontario, Canada

Tracy Sheehan · From: Fort Worth, Texas, USA

Come on now Reece. You have been at this long enough to know you can't get a good tone unless you play a black Emmons.

Sorry. a dull day here and i coulden't resist that. Very Happy

Reece Anderson · From: Keller Texas USA, R.I.P.

Bent....I received and responded to your private message.

Perhaps holding your bar deeper into your hand so that most all the palm knuckle is touching the end of the bar which I think will give you good control, and enable you to increase the weight on the bar.

The ring finger, is the finger next to your little finger. I would think that trying to put an extension on the middle finger and control it, would be more difficult than putting an attachment on the ring finger which extends into the void area.

Most of the time I use a bar that is about 5/8 X 3 1/2. I believe my control with a small bar to be exceptionally comfortable.

Scott Henderson · From: Camdenton, Missouri, USA

Reece Thanks for getting a thread like this started. It's too bad idiots can't appreciate you and other top players trying to bring some decent education to the forum. I think that is one of the reasons this forum was created. Guess I need to read the front page again...
Their is a difference between rights and privledges
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