Do you compose steel breaks in advance?

[Chris Tweed]

I've been playing pedal and lap steel with a singer-songwriter who likes all breaks to be "composed" and then played the same every time on his songs. While this has been a good discipline for me to follow, I am also keen to be able to "wing it" occasionally and make up a break on the the fly. I don't quite have the ability to do that on PSG yet, even though I can usually turn out a reasonable dobro break in a bluegrass jam. I'm curious to know if others compose their breaks carefully in advance and then play them faithfully each time rather than improvise.

I am fascinated by the whole idea of pick-up bands that can slot into place behind a singer without rehearsal and one-take recordings when the solo just flows seemingly effortlessly. I wish I could do that, but I guess it takes a lot of experience. However, I would guess that most classic solos have been very carefully designed and constructed, over some time, before being committed to a recording. So what are your views on composed versus improvised breaks?

[Bob Hoffnar]

For live gigs if the artist wants the same parts that were on the recording then I do my best to play them.

However, I would guess that most classic solos have been very carefully designed and constructed, over some time, before being committed to a recording.

A busy session player would not have time or the opportunity to work out parts.
In my experience recorded solos by are generally improvised on the spot to suit the demands of the producer or artist.

It is nothing special or anything. If you can sing something in your head along to a tune you get your playing to a place where you can play what you hear and you are good to go.

[Dave Hopping]

What Bob said about playing what's on the recording....If there isn't a recorded steel part to cover,then just playing the melody works out well,and over time you can add your own subtleties.

[Ray Montee]

Altho' I've played in numerous country/Hawaiian groups, I've NEVER been asked to prepare a solo or whatever in advance.

For the traveling steel player with a name group, I can see the value of it for the "stars' benefit.

JERRY BYRD told me that recording sessions took the approach that spontaneity was one of the most important aspects of each session. They had but three hours during which they had to learn four songs and also work up some kind of worthwhile intro' and solo's. This was the standard of the day.

[Cal Sharp]

The Gigantic E was backing up Darrell McCall at the Midnight Jamboree, and not only did he not know the steel parts - on songs he'd where he'd been on the session - he didn't even know the changes, and had to have charts. So I use that as a reference point on some of my gigs.

If you're with an artist, and being paid accordingly, you usually have to play what was on the record, but if it's a more casual gig you might get away with being more creative. Me, I hate to repeat myself unless what I played the last time was exceptional, which doesn't happen often enough to make replication advisable.

As disgruntled, less-than-busy musicians say in Nashville, "If I'd been on the session I'd know the damn lick."

[Cal Sharp]

I don't have anything on hand as relevant to my previous post as I'd like, but this is real close, and should palliate all you steel guitar crazies. Buddy doesn't seem to need a chart for this number. A Way To Survive

[Ray Montee]

How do you figure?

Do you suppose that is the 'clinker' in the great "E"s
playing career?

Could he really have that kind of a handicap?

I do find this hard to believe..........

[Cal Sharp]

Heh, when you're playing sessions you might only play a song, or just your part in a song, a couple times in the studio and then never again, unless you're working with the artist on a regular basis or just happen to play with him some time in the future, maybe months or years after the fact.

[Ray Montee]

What you're saying makes perfectly good sense to me. I didn't mean to sound like I didn't believe you but just could envision the BIG "E".....having any sort of handicap.

THANKS for sharing with us.......

Your background as a writer intrigues me as I've worked homicide cases and hundreds of other types as well during a 47 year period. I always wanted to be a famous writer and wear Arnold Palmer type apparel.

[Cal Sharp]

Ray, what was funny, at least to me, about the Midnight Jamboree gig was that I knew the songs better than Buddy did because I’d been trying to copy his licks as best I could from Darrell’s album ever since it came out, and Buddy, despite his well known friendship with Darrell, apparently didn’t have it in the regular rotation in his Walkman.

[Ken Campbell]

Huhu....you said "Walkman". Huhu

[Donny Hinson]

Sure is disappointing when you get a good singer and bunch of good musicians together and they can't follow Buddy Emmons!

[Jim Park]

To back up what Cal said, I was visiting with Buddy back stage at the Nugget in Sparks Nv when he was with Price back in 1990 and he was signing some albums for me, and one was a jazz album with the Great Stream on it . Buddy looked at it and chuckled....."Boy I wish I could play that song" or something to that effect. it was a cool experience, and one I won't ever forget

[Jack Stoner]

Short answer: No.

[John Billings]

Always flew by the seat of my pants. I never really knew what I was going to play next. Lucky for me, the guys I played with liked my playing. If I had had to play the same thing every night, I would've been bored stiff, and retired much sooner than I did.

[Gene Jones]

I don't think I ever played the same break twice, unless it was accidental.

[Tom Gorr]

Tough one.

If you are a bonafide part of the band and its future success, strive to prepare highly musical parts.

If you are a hired gun / sideman, never play the same break twice....

Joking....maybe.

[Lane Gray]

When I was learning the Dobro, I had Billy Wolf make a tape of the Seldom Scene's show every Thursday night at the Birchmere. Mike Auldridge did not even play the intro to "Wait a Minute" the same way twice. It constantly evolved. (At one point, he showed me how he formerly played it, and what it was at the time. Seeing his thought process at work was cool)
Unless either:
The gig pays well, or;
You really enjoy the discipline, or;
There's some other psychic/emotional payoff (like you like working with that bunch),
I'd wanna pull my freaking hair out.

[chris ivey]

most bands have been 'winging it' situations which of course come naturally to me, but several were more arranged and i was always proud to be in a band that sounded that tight. the challenge with playing real parts is to make them and the band sound even more professional every night. twin type parts are an interaction with another member that creates great tension.

[Lane Gray]

I agree, Chris. But even in those situations, parts can evolve over time¹.
And, if the other lead players are in sync with each other, they'll start adding a harmony to your own lines. I was with one band where the fiddler would twin my IMPROVISED rides. I miss that bunch.

¹One time we rearranged a ride by email, just discussing what we wanted. Came off like we'd rehearsed it or something.

[Bob Simons]

Maybe the general disdain I note for preparation in country music accounts for the landslide of dull, repetitive, uncreative music you guys like to wallow in. There is no shame in putting a little effort into developing an effective, intriguing part by exerting some effort in that direction.

I also am embarrassed by the notion implied a few times in this post, that if you are a short term or pickup part of the band, what the hell, just wing it! (No reason to strive for excellence.)

I may start by improvising a part (hopefully in a rehearsal.) After that it evolves and takes on a repeated shape and optimized licks.

EFFORT is, I believe, the difference between creative bands and the run of the mill garage or club band.

[chris ivey]

'natural talent' is a key ingredient. many players can put tons of effort into it and still come of sounding pretty bad.

[Lane Gray]

Maybe the general disdain I note for preparation in country music accounts for the landslide of dull, repetitive, uncreative music you guys like to wallow in. There is no shame in putting a little effort into developing an effective, intriguing part by exerting some effort in that direction.

True. Part of that blame lies with the producers that prefer to sell new bits of the same formula. It's safe to say that Messrs. White, Franklin and Johnston are capable of a lot of expressive effort, but they're in the business of giving the producers the kind of product that they want to sell

I also am embarrassed by the notion implied a few times in this post, that if you are a short term or pickup part of the band, what the hell, just wing it! (No reason to strive for excellence.)

There's nothing wrong with "winging it" which one can do with chops and effort. Some of the best stuff I'd ever seen from top name bluegrassers was when they had a request for songs they'd never done before, but did it onstage as a group (including some members never having heard that song before).
Winging it isn't a bad thing, as long as you put some heart and soul into it!

I may start by improvising a part (hopefully in a rehearsal.) After that it evolves and takes on a repeated shape and optimized licks.

EFFORT is, I believe, the difference between creative bands and the run of the mill garage or club band.

True dat. Although I'd substitute "soul" or "heart" for effort. There's only a handful of songs that have ever made me work for an improvised solo.

[Cal Sharp]

I heard a story about Buddy on a session, and I know this ain't the first time this happened. The producer had him make several passes at his solo, and every one was perfect, different and a keeper.

[chris ivey]

Maybe the general disdain I note for preparation in country music accounts for the landslide of dull, repetitive, uncreative music you guys like to wallow in.

bob..i'm sure lots of us would love to have you post an example of your playing to help lift us out of this dull bog we seem to enjoy wallowing in. teach by example, my friend, we will be anxiously waiting.