How best to grow my vocabulary on my six string lap steel?

Benjamin Wolfram · From: Victoria, Australia

I realized in a slightly embarrassing studio session last night that although I can play some cool stuff on the lap steel, my vocabulary for improvising and applying the instrument to songs I haven't practiced and played before sucks and I really need to work on it fast.

My favourite lap player to date is Jerry Douglass (I'm sure I'm not alone there) but I also love guys like Ben Harper, Rob EG, and whoever can play the thing basically.

What are some suggestions for improving my vocabulary on the instrument? I was just going to try and listen to heaps of stuff and take licks from here and there...suggestions for good listening maybe?

Cheers,

Ben.

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

These are only my very personal opinions (and random thoughts) based on my own experiences, so take them with a grain of salt..

Sing. The lap steel is such a vocal instrument, focus more on melodic improvisation and not so much on "licks". How often do you say about a singer after a show "wow, (s)he sang many cool licks tonight!!"
In order to get there you will need to learn how to recognize the various intervals of whatever tuning you are using, so that you can easily get from the note you're playing to the note you're hearing in your head.

Play along with everything you hear whenever you can, doesn't matter if it's in your preferred musical style or not, as long as it has a chord structure it's all good for practicing.
I have no idea how many hours I've spent playing along with the radio - on the non-commercial radio over here you can still be exposed to a huge variety of styles during the same program - it's great for training your sense of relative pitch (the ability to recognize intervals) and play 'on the fly'.

Again,- sing. Improvise short vocal melody lines and try to find them on your lap steel. Learning licks from your favorite player is cool, and can be a very valuable technical exercise, but it will only get you so far,- eventually you will need to develop your own vocabulary when you improvise.

Oh, and don't forget to dance! A typical mistake many guitarists and lap steelers does, especially those coming from a rock background (like me), is to ignore the importance of rhythm. It's amazing how few notes you can get away with by placing them in the most exciting 'spots'.

Remember that when you improvise you are playing yourself and if it sounds good to you it most probably is good.
There will always be better players out there, no matter how good we get, but there's one thing nobody does better and that is being ourselves.
So trust your instincts and sing, dance and play! Wink

Just some random improvised thoughts on a lazy Saturday afternoon........ Cool

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John Dahms · From: Perkasie, Pennsylvania, USA

Steinar's reply states several good points very well.
I am an old movie fan and what I do keep a steel next to my favorite chair and play along with the movies on Turner Classic Movie channel. Some of the best melodies ever written are in those old sound tracks and doodling along builds a familiarity to structure and intervals without concentrating. In a short time you become less awkward and can impress yourself with how natural it becomes to play along as it happens with music you have never heard before.
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John Allison · From: Austin, Texas, USA

Ben, I've found myself in the same boat with my 8-string playing. I've largely taught myself by listening to the old stuff (vintage "western" swing, primarily) and so I've developed a sound that I feel is my own and doesn't copy too much from any one player or style. The problem is that a unique style without, as you aptly name, vocabulary becomes a rut in a hurry.
Since I front my band and carry the vocals, I'm constantly having to juggle the demands of singing on pitch, remembering lyrics and playing tasty fills without overplaying. When it comes time for a solo, I really have to shift gears and try to get into my right brain so I'm not overthinking and can let things loosen up a little and flow easily.
I find myself depending on positions a little too much as well as dredging up licks to keep things moving along.
I won't offer any specific advice because it's likely that you're already further along the curve than I am, but I will be watching this thread with interest.
Steinar's advice is great! Especially the dancing part. Rhythm, timing, phrasing are all every bit as important as the notes being played. I could listen to a good dancer all night! Smile

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Allison Stringed Instruments
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Mike Neer · From: NJ

Ben, it is a whole process. One of the best things to do is identify sounds on recordings that you like and learn them. You take one or 2 licks that you've learned and then begin the process of turning them inside out. You could start by playing the same licks beginning on a different beat and using rhythmic displacement. That can really change the phrasing of a lick. Also, making changes inside of the lick itself, changing notes.

Another thing is to develop short motifs--little fragments of ideas that repeat and become slightly altered with each chord change, or to reflect melodic development.

As with anything else, there is no quick solution, but you are on the case now, so your practice should be very intense for the next few months. Really listen to your playing and try to steer your playing toward the way you want it to sound. There is no other motivating factor like fear--for musicians it is the fear of sucking. Laughing

By the way, I've written a blog post on my Lapsteelin' blog on improvisation. There might be some helpful suggestions there for you.
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Steve Ahola · From: Concord, California

Benjamin Wolfram · From: Victoria, Australia

Hey well I started that thread and then shortly after I went overseas so I haven't played much since...but I'm about to get my steel happening again as of tomorrow and I'll start trying some of the suggestions given in this thread that sound really good. The whole "vocal instrument" idea is a good one so I definitely think I'll give that a go...it'll be interesting trying to juggle pedal steel with lap steel (I just got a pedal as well woohoo!).

STEEL IT UP Mr. Green

Alexa Gomez · From: San Francisco

I'll share what I do, Benjamin, which is playing along with the radio, any channel will do, the more variety the better. The idea is shifting between different keys, styles, and tempos in order to broaden your scope and to develop improvisational skill and dexterity. At first, you can adapt your existing vocabulary to the material you hear while lifting ideas from artists you usually wouldn't consider as a lap steel resource.

Hope this helps Very Happy

You can also check out my lap steel lesson channel for ideas... www.youtube.com/sisteralexa
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Billy Tonnesen · From: R.I.P., Buena Park, California

IMHO, many times the type of background and fill improviation is going to vary with the style the Singer or Band is performing in. You need to use your ear and adapt to what the singer or band is trying to project. I'll shut up,I'm starting to Ramble.

Ray Montee · From: Portland, Oregon (deceased)

With the excellent suggestions above, it's hard to ad anything equally worthwhile however........

I'd suggest that you listen, REALLY, REALLY LISTEN, to whatever song that has grabbed your attention.

Listen to the vocalist and the lyrics....... then repeat a phrase or a complimentary phrase that will go with the song. If you don't listen to the song and the voalist, you're never going to achieve the
ability to play what your discussing here.

REMEMBER! LISTEN..........and learn. Listening just to entertain your mind is not sufficient.

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