What's More Important Than Developing Technique?

Leslie Ehrlich · Post by **Leslie Ehrlich** » 21 Jan 2011 2:04 pm

Playing it in tune.

Bill Hankey · Post by **Bill Hankey** » 22 Jan 2011 4:01 am

John De Maille,

Thanks for the responses to my inquiry. It's really uplifting to receive acknowledgments from a gifted steel guitarist who is associated with the most honorable Steel Guitar Association in The northeastern part of the U.S.A., namely, (The P.S.G.A. INC.). I really enjoy communicating with a writer who calls a "spade a spade". "No beating around the bush".... Progressiveness through informed sources, is in part something that everyone would benefit from, should they find the steel guitar of primary concern. The ability to perform without hangups or changes is an acquired skill.

Bill Hankey · Post by **Bill Hankey** » 22 Jan 2011 1:35 pm

Scott Henderson,

Thanks for your thoughts on the subject of technique. I know that by considering your level of artistry on the steel guitar, you could offer page after page of useful information, should you set out to do so.

Charles Davidson · Post by **Charles Davidson** » 22 Jan 2011 10:03 pm

If you can't play with heart and soul,All the technique in the world means NOTHING .YOU BETCHA.DYK?BC.

Bill Hankey · Post by **Bill Hankey** » 23 Jan 2011 8:39 am

Charles,

You'll play your heart out, once you come "Under The Influence Of Love"... Any kind of love for a fine instrument, such as a steel guitar, or the influence of kind words from a fair lady. Your steel will sing like a house sparrow in it happiest moments. Such are the powers of both technique and influence...

Hank Ruf · Post by **Hank Ruf** » 23 Jan 2011 8:43 am

I for one think there are many things involved in playing the steel guitar or any instrument and sounding good, not boring. But I would have to put technique at the top of the list. Having said that, you can have good technique only and not sound very good. You also must have intonation,
style/uniqueness and express yourself musically. Not having your own style/uniqueness is one of my pet peaves. I go to a lot of steel shows and I hear some steel players that sound pretty good but they don't express themselves musically so to me they all sound alike. So in a nutshell, practice on developing these things. BUT have fun while doing it. That's only my take on this.

Bill Hankey · Post by **Bill Hankey** » 23 Jan 2011 4:13 pm

Hank Ruf,

It's really difficult to look at a total picture, if you base your statement on various experiences of what you've seen of players at different shows. There are problems that can occur at times when quick judgment calls are offered that define a large group of steel guitarists. Many times, under different cicumstances, a rude awakening is always a possibility, should a player be judged unfavorably on the merits of one performance.

Tim Victor · Post by **Tim Victor** » 23 Jan 2011 4:32 pm

Getting comped at the bar.

Bill Hankey · Post by **Bill Hankey** » 24 Jan 2011 4:30 am

Tim V.,

I'd be more apt to be toe tapping to a good rendition of "Save The Last Dance For Me", played by a country music band.

Wayne Franco · Post by **Wayne Franco** » 24 Jan 2011 2:04 pm

Like driving a car. Lots of the activity is automatic so you can concentrate on where you're going rather than the actual physical parts. I guess if you didn't know how to press on the brake pedal you wouldn't be a very good driver huh. Same with technique which includes bar control,right hand blocking or pick blocking, hitting the appropriate pedal(s)and lever(s) Then if you know the positions on the neck its a matter of thinking where you're going to go. On good nights you already have that well planned out in advance. For an advanced player thinking ahead and already knowing what it is you want to do is the most important.

Michel Rose · Post by **Michel Rose** » 24 Jan 2011 3:44 pm

Knowledge comes first and with it comes technique

Bill Hankey · Post by **Bill Hankey** » 25 Jan 2011 10:22 am

W. Franco,

Lots of good comparative thoughts concerning balance, timing, and getting attuned to situations that require a fair amount of practice. Luckily, we have the ability to train our bodies to respond at a split second's notice. Thanks for your comments.

Johnny Cox · Post by **Johnny Cox** » 25 Jan 2011 12:40 pm

Ok here I go. Feeling and taste are much more important than technique. Without the feeling and the tastefulness to play the right thing at the right time the technique is just that, technical. The greats that taught me always stressed feeling and taste. Most of you know I grew up around Rugg, Emmons, Myrick, Drake, Day, Green, Hughey and Chalker. They all told me the same thing, Play what fits with feeling. Of coarse it is a different time so it may not apply in today's music. It seems to me that young steel players spend a lot of time on technique and gear, and little on heart and soul. Just my 2 cents.

Edited for spelling.

Bill Hankey · Post by **Bill Hankey** » 25 Jan 2011 4:38 pm

Johnny C.,

I find it very difficult to judge the capabilities of young steel players as a whole. Many past experiences have provided solid proof of a limited country repertoire in younger musicians; collectively. The most promising young steel guitarists whose playings DO show the promises of "Feeling and taste", and provide "Heart and soul" in their steel guitar selections, I believe, would benefit from technical changes in their presentations. A little "bounce" added to certain melodies, is a technical issue, that is acquired through rigorous practice sessions, and worth every precious moment of effort, to realize those differences.

Johnny Cox · Post by **Johnny Cox** » 25 Jan 2011 5:21 pm

Bill, I do not recall mentioning young players repertoire, nor am I judging anyone. I simply stated what I see and what I know as a professional player. Technique is important but not the be all to end all.

Bill Hankey · Post by **Bill Hankey** » 25 Jan 2011 5:43 pm

Johnny C.,

Of course not Johnny. I was taking in a broad spectrum of talented players who have one thing in common. It takes years of listening to country music to develop the "Heart and soul" that you've mentioned in your statement. The best of the best more than likely have grown from homes dedicated to the music that we can't live without. There is nothing more enticing to a country musician, than listening to a country rendition, with the tastiest steel available accompanying the vocalist. Johnny, you are a big favorite of mine. I'd equate your musianship to the best in the business. Thanks for your generous consideration, and for sharing your wisdom.

Randy Beavers · Post by **Randy Beavers** » 25 Jan 2011 5:49 pm

Somewhere along the way one had better develop a "sense of humor". If not, this thing will eat your lunch!

Bill Hankey · Post by **Bill Hankey** » 25 Jan 2011 7:04 pm

Randy Beavers,

I think it would be reasonable to realize that weak links do exist throughout the music industry. You'll find them with not too much effort in players, or their preferences in total sound at recording sessions. The truth of the matter is as such: I spend many happy moments laughing, when something humors me. Earlier, I spent a great deal of time laughing at your thread called "STEEL GUITAR ANTHEM", in the PEDAL STEEL SECTION. Roy Driskoll (Sp.) portrays (I feel) a slightly risque example of what the majorities may not be able to relate to. Oh yes! It's humorous for grown men, but I wouldn't count on a big list of volunteers.

Christopher Woitach · Post by **Christopher Woitach** » 25 Jan 2011 8:33 pm

I think all styles of music need a combination of taste, heart, knowledge and technique to be played well.

Knowledge tells you what will work musically in a given situation.

Taste tells you how to approach the situation stylistically.

Heart connects your feelings to the music, giving it purpose.

Technique? A delivery mechanism for all the above. Crucial, but the means, not the end, in my opinion.

Johnny Cox · Post by **Johnny Cox** » 26 Jan 2011 2:13 pm

What Christopher said.....

Bill Hankey · Post by **Bill Hankey** » 26 Jan 2011 4:48 pm

Christopher,

Quote verbatim: "Knowledge tells you what will work musically in a given situation." That statement may not carry with it in reality, it's intended message. Our knowledge is pitifully shy of barely scratching the surfaces of matters that are indeed pending resolutions. That would include musical studies related to the pedal steel guitar. Posterity will no doubt make changes in the years ahead, by arriving at scores of new ideas. The complex maneuverings of players such as those of EMMONS, GREEN, FRANKLIN, COX, etc. may become elementary to the possible expanded methodologies of the future.

Bill Hankey · Post by **Bill Hankey** » 27 Jan 2011 5:40 am

Johnny Cox,

I'm still bouncing the implications of technique off the wall hoping for a satisfactory rebound in terms of professional responses. Commentary from you or Randy Beavers must always be accepted as factual. There are those who enjoy toying with the emotions of others, by submitting ridiculous replies. It's the name at the heading of these forum replies, that create increases in attention spans, and helps to broaden the interests of fellow steel players who may have multitudes of unrelated interests. I'll bet my bottom dollar that you could become another "Big Bad John", for different reasons. If you should choose to set the records straight, much could be accomplished by reorganizing the ducklings in single rows; accordingly.

Fred Shannon · Post by **Fred Shannon** » 27 Jan 2011 7:07 am

"I think all styles of music need a combination of taste, heart, knowledge and technique to be played well.

Knowledge tells you what will work musically in a given situation.

Taste tells you how to approach the situation stylistically.

Heart connects your feelings to the music, giving it purpose.

Technique? A delivery mechanism for all the above. Crucial, but the means, not the end, in my opinion."

OH DARN! SOMEONE ALREADY SAID THAT.

phred
_________________

David Ellison · Post by **David Ellison** » 27 Jan 2011 8:41 am

It's important to have a certain amount of good technique to start out with. After that, improving your technique becomes less important than how you fit into a band. It's better to be a player with a small, core knowledge of the instrument and limited technical skill – who can take what he knows and fit it into songs in a creative way.

When I started playing, I learned solos note for note and practiced them until I could play them. As soon as I started playing with other musicians, I realized that wasn't going to get me very far... I was still only beginning to learn.

Christopher Woitach · Post by **Christopher Woitach** » 27 Jan 2011 9:19 am

Bill

Quote - "That statement may not carry with it in reality, it's intended message. Our knowledge is pitifully shy of barely scratching the surfaces of matters that are indeed pending resolutions. That would include musical studies related to the pedal steel guitar."

I hear you - however, the statement that "Knowledge tells you what will work musically in a given situation" doesn't in any way imply that there isn't more knowledge to be gained. In fact, one of my favorite things about playing any instrument is that it's absolutely impossible to ever "finish", that it's more than a lifetime of learning.

I think Johnny Cox provided an extremely satisfactory reply, as regards professional steel players.

I say again, from my 35 years of experience of professionally playing the six string guitar, and my more recent fumbling efforts at pedal steel guitar, technique is crucial, but only as a means to an end, which, hopefully, is to celebrate the human spirit, and it's unique place in the cosmos.

Possibly too "groovy" a comment, but nonetheless my heartfelt sentiments.

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What's More Important Than Developing Technique?

Technic is an important part of learing.