What did learning how to play pedal steel like look for you?

[Jordan Stern]

Hello! I am writing my doctoral dissertation in music education on how pedal steel guitarists learn/acquire their art and craft. I am a drummer by trade (I play in the western swing band Billy Mata and the Texas Tradition), but I have been learning to play pedal steel as part of my dissertation.

I am working on my dissertation prospectus right now, and I have to choose (or at least make an educated guess at) the correct learning theory to use as a framework for my paper. If you wouldn't mind sharing a little bit about how you initially learned to play, and how you continue to refine your abilities, that would help me greatly as I start to figure out the specifics of how I will frame my paper.

Here are some guiding questions to consider...
- Have you ever taken lessons? If so, what did your teacher have you working on?
- What sort of frustrations did you run into as you learned?
- What role has both your local pedal steel community (if there is one) and the online forum community had in your learning journey?
- What is your process when you sit at the steel to learn new material?

FYI - I am still in the very early stages of crafting my dissertation, and none of these responses will be used in the paper itself (there is a whole institutional review process that has to happen before I can "officially" gather data). These responses will just help me get the process started. Thanks!

[Bob Hoffnar]

How would you like for us to submit our personal learning trajectories ?

[Jack Hanson]

Nowadays there are exponentially more available resources than when I purchased my first instrument over forty years ago. I was fortunate to live in a time and place where there were lots of great steel players, and I took lessons from four of the finest. I was on the fast track by having a good teacher right off the bat, and learned plenty and progressed rapidly. The key was the same as the answer to the proverbial question of how you get to Carnegie Hall: Practice, practice, practice.

[Jordan Stern]

Bob, you can post here if you would like. If you feel more comfortable emailing me directly, my email is js1052@txstate.edu. Thanks!

[Mack Quinney]

Hey Jordan, congrats on your doctoral dissertation! So cool!

For what it's worth, I'm a piano player so my approach to the pedal steel comes from that perspective. Secondly, I learned basic guitar prior to the steel, so I have that as well.

I approach all instruments from a "chordal" perspective. Learn the chord, (on steel multiple locations), then melody. Second I approach all instruments from a "modern western music" perspective of I, IV, V. Once these chords are known, then figuring out other chords such as 7ths, minors, dim, etc. becomes easier for me.

Third, I learn the melody or "licks" between the chords or as part of the chord structures.

Unique to me was harmonized scales for the steel guitar.


- Have you ever taken lessons? If so, what did your teacher have you working on?

I have taken about three "one-on-one" lessons. All were about "licks",harmonized scales, and chord positions. Two group lessons which was more about basic technique (hand position blocking, pick approach, etc.)


- What sort of frustrations did you run into as you learned?

Holding the bar was a challenge at first, and trying to remember the chord positions continues to be a challenge. C6 tuning and how it's played is a challenge. E9th comes easier for me.

- What role has both your local pedal steel community (if there is one) and the online forum community had in your learning journey?

I did attend the local steel club, but it turned out to be more of a jam, than any formal training. The Steel Guitar Forum is a wonderful place and provides about anything you might want to know. Bob has created a wonderful place.

- What is your process when you sit at the steel to learn new material?

1. Whats the key?
2. What are the chords, and best location?
3. Pick out the licks to match the record.
4. If I can't figure it out, there is this forum and YouTube!

Hope some of this is useful!

Thanks

Mack

[John McClung]

Following, and will post some info when time allows, Jordan...I'm a steel teacher so this is a very hot topic for me, I'll share my beginning days perspective, plus developing as a steel instructor experiences.

[Dom Franco]

I was lucky (blessed) to have my parents get me lessons on the Hawaiian Guitar. Once upon a time in California it was possible... Accordian lessons were also available.

I taught myself standard guitar by listening to the radio and records, Then I bought a used pedal Steel and never looked back. I already had some skills and (some Bad Habits) from playing Hawaiian Guitar, so I learned what the pedals did and taught myself on the Pedal steel. I still have some bad habits and my blocking is not great but I did pretty well and made a living playing clubs and touring with bands. I traveled most of the country and did a lot of studio work, but I still have a ton to learn about this amazing instrument. A lifetime is not long enough to truly master it!

[Ian Rae]

Jordan, the whole business of learning is endlessly fascinating, and any attempt to tabulate it is worthwhile, so good luck.

What follows is a bit odd so feel free to ignore it, but my early pedal steel mentors were Marshall McLuhan and Edgard Varèse. Being mechanically minded I was intrigued by the changer mechanism which could morph a chord gradually into another chord, including its own inversions. (Varèse thought of musical sounds as plastic and found conventional instruments notchy - he would have loved the way the steel slithers around.) To me the medium of levers and cranks is the message.

In practice, we have here an instrument that can glide seamlessly between different voicings of the same musical elements, which makes it unique and worthy of academic study. Good pedal steel playing is all about movement up and down the neck, despite how much can be done in one position.

[Donny Hinson]

I started by learning straight guitar (by ear); beginning, as most players did back then, by learning chords and chord patterns, and progressing to lead work. I played folk, then instrumental rock, and finally Motown and Soul music. (The Beatles were not a big factor for me.) I did that for about 7 or 8 years, transitioning to lap steel (mostly pop and Hawaiian, by note) during the final years. I then switched to pedal steel, playing lead guitar only occasionally. Opportunities were far better playing pedal steel, as there was a plethora of very good lead players back then, but a real shortage of pedal steelers. I quit playing straight guitar altogether in the late '60s, and never looked back.

Because full chords were far more accessible on pedal steel, I first learned all the major, minor, diminished and augmented chords along with their positions and inversions just as I had done on straight guitar. I never had real lessons on pedal steel, though I did get some help from players like Stu Basore, John Bechtel, Wayne Tyler, Cal Deitz, Lyn Strauf, and I also attended one of Jeff Newman's seminars. My learning was mostly aided by going out and watching anyone who was playing nearby. This included many jaunts to Sunset Park, Dairyland Restaurant, The Ozarks Club, Hunter's Lodge, and also Stabile's and Zebelean's lounge. I finally made it to the Grand Ole Opry in 1966.

In my 59 years of playing steel, I was lucky enough to see most all the "Golden Age" pedal steelers in person, and I've been fortunate enough to play with some of the best singers and musicians in country music.

I am thankful.

[Tony Prior]

Jordan, for me, mid 70's there were no teachers, heck there wasn't even any other people who owned a Steel where I lived. It was the desire and drive that kept me going.

I acquired a Sho Bud Maverick from Sam Ash music in White Plains NY and a book directly from Sho Bud, I think it was Intro's or something like that, Thats how I started. I had been a guitar player for a bit and just started applying theory I knew over to the Steel.

The 1st 6 months were ruff, once a few things were learned with regard to the AB and then C Pedal , things began to move along. at least I thought so.

My first TWO Steel LP'S I bought were a Loyd Green LP and Suite Steel, the local music store had them both oddly enough. who knew.

After purchasing a Sho Bud Maverick from Sam Ash Music in White Plains NY for $350 , the next big kick in the butt about a year later, was spending $1100 for a Double Ten Sho Bud Pro III , for an Instrument I could barely play .

No lessons ever but finally ran into a few in the area that gave me tips along the way. Nothing like today, resources are abundant.

In the first year of my playing, with the Maverick, I told a band I could play, they found out rather quickly that I could not, they hired me and fired me on the same weekend. About a year later, I now had the D10 Pro III, I joined another band and was doing better,at least keeping up. They didn't fire me. That band leader and I stayed friends for our whole lives until he passed.

Over the next decade the first band ( that fired me ) hired me many times . The thing about it I now was very familiar with songs and set lists, which was half the issue, knowing the music. I came from a R+R/Blues background. All of the bands that I have worked with, and still do, have me fronting songs on Guitar, so I bring Steel, Guitar and vocals to the table. I was the rocker in a Country Band , evidently I still am .

During that first decade I purchased several Jeff Newman programs which were a huge help.

Over the recent years I have written TABS and gave lessons to new players, passing on much of what took me it seemed forever to learn. Just paying it forward.


I wouldn't have done it any other way ! And I'm still learning.

[Ian Rae]

Tony says he's still learning. That's an important point - we all are. You won't find even a top pro who reckons he knows it all 'cos there's always something waiting to be discovered.

[Kevin Fix]

Jordan, You have it made now a day for learning. Between the Forum and YouTube, you have it made in the shade. Their is a whole vast area to learn by now. When I started, their was no teachers in my area. Living where I do, most people never heard of one. I started out playing and learning by the way of picking the arm up and moving it back on a LP!!! I learned totally by ear. I practiced everyday for about 2 maybe 3 hours a day. When I got frustrated, I would walk away from it for a day or so, then come back to it. When I came back, it would come together like a puzzle. When I learn new material today, I get on YouTube and find something to play along with. 40 years here and it's been one heck of a trip. Been a lot of fun, met lots of people. Got to do some work on the other side of the pond. Been a great ride.

[Jordan Stern]

Thanks for the awesome replies!

Jack: I have been very fortunate to have all of the resources at my fingertips that are available. I like your point about location, having teachers available sounds like it was very helpful. I am glad to be in Texas where there are many master players, and look forward to getting out for lessons once the pandemic settles down.

Mack: Thanks for the very detailed reply! I feel fortunate to come into playing steel with a strong music theory background, being able to hear the chords within a progression and then use that info to narrow the licks being played down to a few possible positions has made transcribing a lot faster for me as I have started to make progress.

John: I would love to hear your perspectives as both a learner and a teacher!

Dom: I just finished Troutman's book "Kika Kila," I had no idea that Hawaiian steel lessons were so widespread in America in years past! I like your point about lifelong learning, that is one part of music that has always kept me hooked.

Ian: I love Varése! I played a few of his works in wind ensemble years ago. The ability to put the pitches exactly where I hear them (especially in the blues) without being confined by a fret has been a lot of fun.

Donny: I wish I would have started this learning journey earlier, before we lost players like Buddy Emmons, Jimmy Day, Herby Wallace, and many others. I have gotten to see a lot of great steelers though, playing festivals is always great because I get to see so many amazing players. I come to steel from a background on standard guitar as well, and I feel like it has enabled me to have a good chordal foundation.

Tony: Wow! What an awesome learning story. Hearing about how persistence and drive helped you to build your own knowledge base in your beginner years without much of a support structure is impressive. I have had several players tell me that getting on the bandstand really accelerates the learning curve; you were courageous to jump right in there.

Kevin: Your comment about working until frustration, then taking a few days away, then coming back and things coming together quickly is fascinating. Our brains are such complex and mysterious machines!

Please keep the comments coming if y'all are so inclined... these have been very helpful for me!!!

[Fred Treece]

I have been documenting my thoughts on the learning process once a year. Chapter 4 due out in January.
https://bb.steelguitarforum.com/viewtop ... edal+steel

[Richard Alderson]

For me an interesting question would be

What percentage of pedal steel players learned pedal steel as their first instrument? How many started out directly with 10 strings, 3 pedals, and 4 knee levers?

Or what percentage of steel players learned first to play standard armpit guitar, and only later began to play steel.

Or what percentage of pedal steel players started out on lap steel before acquiring the more expensive and more complicated pedal steel?

Those who had lessons are miles ahead of those who didn't, I know that much !!

[Jordan Stern]

Fred: Wow! Your yearly updates are greatly detailed, and VERY helpful to me. I also must say that your beginning experiences on the instrument are very similar to mine.

Richard: Based on the responses I have gotten, and the folks I have chatted with, it seems (anecdotally) that the vast majority of steel players start on another instrument first, usually standard guitar or lap steel.

Lessons seem to be helpful, but I have found so far (again, anecdotally) that most players, even those who have taken some lessons, take charge of their own learning for the most part. I have decided to tentatively frame my dissertation around the idea of steel players as autodidacts, or people "who prefer to teach themselves or to pick up knowledge from non-teaching situations."

I was a high school band director for many years before getting a job teaching at the college level. I think one of the big problems with institutionalized music education (band, choir, orchestra) is that teachers tend to spoon-feed music to students, always telling students exactly what, when, how, and where to play. This leads to very accurate and impressive high school ensemble performances, however, when they graduate, I have observed that many young musicians never play again because they don't know how to be self-directed (there is no one to hand them sheet music and set up rehearsals for them any more).

In an ideal world, I think that school music educators would teach students how to teach themselves, with an eye on eventually making the students self-sufficient. In this way, the teacher is more of a mentor and eventually becomes superfluous (which is what all teachers should want for their students eventually, right?).

Anyways, sorry to ramble. I just find the steel community to be inspiring, seeing so many musicians tackle such a difficult instrument, often largely on their own, and finding great success in spite of the inherent difficulties of the instrument.

[Dom Franco]

Jordan, your conclusion that "most" pedal steel guitarists come to it after playing another instrument first is very true. As a guitar teacher and steel guitar teacher for many years, I have only had 2 students that attempted to learn pedal steel without having any other musical training.
IMHO it is nearly impossible to learn all at once: bar technique, Pedal operation, playing in tune by ear, chord theory and chord progressions (all of which is necessary to play even the simplest songs on a pedal steel)

The whole reason for pedals is to give a player chord changes and scale options that would otherwise require bar movement. It is overwhelming to someone with no prior knowledge of scales, major/minor chords I IV V chord progressions etc. again it's just my opinion from trying to teach students who had just purchased a pedal steel as their 1st instrument!

Dom

[Ian Rae]

I could not have made the fairly rapid progress I have enjoyed without a lot of previous musical knowledge.

Aside from the technique required in the hands, there's also all the mechanical/theoretical stuff. I have played (and scored for) transposing instruments and I discover that the pedal steel is one - when I'm playing in B flat I'm still thinking in E.

I simply can't imagine PSG as a first instrument and the start of theory study, although there may be a few walking miracles out there (or should I say sitting)

[Steve Geis]

I played acoustic guitar and tried to sing a little. While in the Army '69 to '72 I ran into a guy from Ky that played a little lap steel. That was where I developed a real quest to learn steel. By '72 I was back in the US and took private lessons from a blind guy named Bill Galloway. He was about 95% blind. He would write my music (manuscript) with his eye about 2" from the page. NO TAB! In fact, tab was just starting to become a concept. As tab was developed there was no standardization so if and when you got printed/published tab, you had to first learn the transcriber's notations for pedal or pedal combinations, timing, note values etc. There was no universal methodology for tab for pedal steel guitar til probably the early 90's. And there are still several variations, but at least it is pretty much standardized now. Beginning players don't realize how hard it used to be. I remember putting quarters on records on a record player to slow the music down to make learning the music a little easier. And of course slowing the record changed the key of the tune. It was a real challenge back in those days. I say all that to say this: learning pedal steel guitar is MUCH easier today than years ago. In keeping with your request for prep of your dissertation, I will tell you I have taken lessons off and on over the years. I started playing steel at about 23 and am now 71 and still playing live. My personal methodology for teaching pedal steel is no the standard 1/2 hour or 1 hour each week, but rather what I refer to a MARATHON 2 to 3 hour lesson. I hand out lots of material and tab and encourage the student to record the lesson. Student is encouraged to call me back when he is prepared to do another marathon lesson. Hope this summary helps you a little. Best of luck on your dissertation. PLEASE keep us posted on your progress and I would love to read your dissertation when it is complete!!!

[Andy Vance]

I have never taken a lesson. I started playing guitar, by ear, at a young age, 6 or 7. My father was a local guitar and steel player. He showed me a few chords on the guitar and I would be in my room with a record player or a tape player trying to mimic the sounds I heard. My dad tried to get me to concentrate on steel but at age 10 but I could make the guitar sound like music and so I concentrated on that, as it was just easier.

My musical progression went from rhythm guitar, 10 to 18, to lead guitar in a sort of forced situation. I played lead guitar as best I could from 18 until about 40 in weekend bands, booked most every weekend. At age 40 I decided to pick up steel again as the sound just fills me with joy and emotion that seldom other stand alone instruments can. I did my woodshed time for a couple years at home, where no one could hear the god awful sounds I was making, and progressed to terrible instead of awful. I was able to use my knowledge of musical structure and chord progressions to at least know what chord I was supposed to be playing in. I have since been playing both lead and steel guitar on stage, well until this pandemic hit anyway.

My frustrations were mostly in there are many ways to play the same melodic notes you hear but position is everything. I have found some pretty difficult ways to mimic what I am hearing and then someone shows me, or I find a different way to play the same notes, and it all becomes clear as to why they played those notes and where, as it was much easier than what I started with.

I haven’t had much support from local steelers other than keep at it, don’t give up. Mostly this is because we don’t see each other much as most of us are in working bands and don’t see each other unless one of us is at a gig of the others or at a jam session where a couple of us may be. All of them are happy to share and provide encouragement.

I play by ear, I don’t read music and I rarely use tab for anything more than a reference of position as I can’t read tab fast enough to have me not get frustrated. Learning new material for me is finding the right position the steeler is in and then finding the notes he used. I rarely play it note for note and I’m ok with that unless it is a signature lick that is necessary to support the song and make it “that” song.

I will say that while I have used my 6 string guitar experience in learning steel to my advantage, playing steel has made me a better musician and a better guitar player overall. The way I think about things musically has changed drastically since I have started playing steel guitar.

Best of luck on your  dissertation sir.

Andy

[Jordan Stern]

Update: I have decided to use the theoretical framework of heutagogical learning as a way to examine how steel players learn. Heutagogy is the study of self-determined learning by highly autonomous learners. This style of learning does not tend to involve traditional teacher direction or facilitation, but instead thrives upon mentorship and collaboration.

The internet plays a large part in heutagogical learning, "with the hope of increased learner-learner and learner-teacher interactions through chat rooms and email lists. It also provides opportunities for learners to access and browse a variety of resources, the identification of current learning and then focus on areas of need or interest" (Hase & Kenyon, 2001). This forum seems like a hub of heutagogy, as does Paul Franklin's course and community of students (I am thinking about enrolling in Paul's course, seems really well thought out and flexible to student needs).

Thanks again for your thoughtful responses. I will keep y'all posted as I make progress on this project, it should take a couple of years, but it looks to be a really fun undertaking.

[Bud Angelotti]

How about this, I took piano lessons from my mom. Then clarinet in grade school. Then came the girls so out with the clarinet and in with the guitar. Folk guitar. Fingerstyle guitar. Mississippi John Hurt guitar. Then of course, rock. But all along, I had heard the pedal steel on certain "hits" on the radio. Crimson & Clover-Take me home country roads. I tried to play those sounds on a reg guitar and of course, no dice.
Then I got my big chance. I was living in a house with a couple knuckleheads and knucklehead#2 had a MSA all set up and ready to play. Already had a loud amp and had monkeyed with a banjo so could manage picks.
Basically, commandeered his steel. Pissed him off too. Played along with our favorite records and most important, played along with the radio. Any and all radio. With the commercials, with the music, with the musical bumpers. It became sort of a game where I had to find a root key quick. So.. there you go. One more way to get to point B.
Cheers!

[Garry Vanderlinde]

Update: I have decided to use the theoretical framework of heutagogical learning as a way to examine how steel players learn.

I think that's how we all did it.

[Steve Cattermole]

I was lucky,when I got my first steel guitar Paul Sutherland was living 20 minutes from me,so I started taking lessons from him.Luckily he was a great teacher,and a great player,still is from what I see on the forum.So he got me off on the right foot,thanks Paul.I will say to beginners,pay attention to your bar hand,if its not correct,nothing will sound good. You get so wrapped up with your right hand you put the left hand on the back burner,and that's a mistake. Good Luck, Catt

[Rick Schmidt]

A big revelation was that it's NEVER supposed to sound like a slide whistle...