New Book: Jazz Theory for the Pedal Steel Guitarist

[Daniel Jones]

Want to expand your capabilities on the C6 neck?

Want to understand more completely the musical language of standards?

Want to develop your own ideas over standards more easily?

If your answer to any of these questions is "yes," this book is for you!




For more info, including book samples and how to order, go to http://LearnC6Jazz.com

Questions? E-mail LearnC6Jazz@gmail.com

[Ron Hogan]

You’ve done a lot of good work. Not an easy task to do.

Ron

[Daniel Jones]

Hi Ron,

Thanks. Yes, it was a lot of work; but very worth it. I learned a lot, and I believe it will be of use to others.

Dan

[Jack Hanson]

Mr. Jones, will you have copies available for purchase at Dougie G's next month?

[Daniel Jones]

Hi Jack,

Yes, I plan to. Am currently getting the hard copy materials together with that aim.

And in case you hadn't heard, I'll be teaching a C6 seminar on the Saturday of that weekend if you want a double dose of moi.

Dan

[J D Sauser]

Hot off the presses, a new instruction book for those wanting to expand their capabilities on the C6 tuning and/or learn standards and play in jazz styles on the PSG.



For more info, including book samples and how to order, go to http://LearnC6Jazz.com "Can't Open Page... Internal Server Error".

Questions? E-mail LearnC6Jazz@gmail.com

IF you are THIS "Dan Jones": https://youtu.be/48EQ3JS0wDY

just know that I am a huge fan of your and am willing to offer you an almost "FREE" vacation in the Dominican Republic

While you think this over, I would be very interested in getting your book.

http://www.learnc6jazz.com WORKS NOW. Must have been a server error.

[Jack Hanson]

IF you are THIS "Dan Jones": https://youtu.be/48EQ3JS0wDY

Yes, that's him. And he's terrific! Out of all the fine players at the Denver show a few years ago when Mr. Mullen and Mr. Flanz were inducted into the Steel Guitar Hall of Fame, Dan Jones' set is the one that impressed me the most. And his young bass player, Austin, is a monster, too.

[Richard Nelson]

This book took 2 years of hard work, mostly by Daniel. I sincerely hope some people get the benefit of it. It’s unmissable bedside reading.

[Daniel Morris]

J D, the web address is incorrect. It should be https, not http.
https://www.learnc6jazz.com/

[Daniel Jones]

I think my web hosting service is temporarily down.

[J D Sauser]

I just got the downloadable version of the Book (PDF) with accompanying mp3 examples and rhythm tracks from Dan Jones.

It's an impressive 172 pages "thick".
I was practicing when I got it and decided to just delve into it for a quick hour of "doing something else" after an hour of walking-bass+chords practice.

My first impression is that it is very well structured and very methodical, steadily progressing towards the declared goal of providing the student with applied musical concepts to Jazz and Bebop on C6th PSG.
Thus the title and subtitle are right on the money as every step is first explained with the theory behind it. And it seems not to assume that the student would know a lot of theory.

Almost each page has playing examples, explorations, exercises and applications, and eventually graduates towards tunes and parts of tunes.

Reach for the seat belt!
It has the student play ii,V,I's starting at page 16 and a few pages further already shows alternate position "blocks" (pedal-lever-combination-positions to play the whole sequence within a usefully compact fret distance group elsewhere up and down the neck).
I could immediately relate to that approach and find that proves that there is a methodical musical understanding concept paired to it's applications on the PSG.
So, it gravitates towards Jazz, Bebop and even Bossa from the very beginning.

Examples are in graphs, charts and playing examples in TAB with standard musical notation above (I am just starting to learn to read (for another reason), but it does NOT seem to REQUIRE that ability)

The sound examples suggests that it's very much in Dan Jones's playing style, which is after all understandable and I personally find his style fresh and very appealing, yet it invites to improvise.

Here are links to videos of him playing:

Dan Jones on The Netherland Community Library-YouTube
Dan Jones on Standard Deviations-YouTube


Speaking of improvisation (single note): The method seems to make use of pedals and levers in single note examples and applications. I think that one, knowing one's tuning and setup, will have the option to choose to play single note runs with or without pedals. I for one, feel comfortable doing the course using mostly no-pedals for single note runs.


It think it's a VERY well spent $52.50 (paperless online version, paid using PayPal) as it certainly makes for a great must-have in-depth, never before found C6th specific applied Jazz theory method and guide and also a great companion to those who study other methods like Paul Franklin's online C6th course (since both target the same musical spectrum), or Jeff Newmans C6th & Swinging courses.

So, both thumbs up here.

Thanks!... J-D.

[Richard Alderson]

Sounds like a must have... but perhaps the server is still down? I have my Paypal card ready for when the link works. Kudos to Mr. Jones.

Thanks JD;

[J D Sauser]

Sounds like a must have... but perhaps the server is still down? I have my Paypal card ready for when the link works. Kudos to Mr. Jones. Is the link with https correct now? Here is what I get when trying to access the link.

The site appears to have "Internal Server Issues". I got on it twice after having had no luck with it form most part of yesterday.

Not being patient with web sites, I ordered my copy by contacting Dan Jones thru the above provided email:

LearnC6Jazz@gmail.com

... J-D.

[Daniel Jones]

My apologies to all who have tried to visit the LearnC6Jazz website. To my delight ( ), my web host server has been down for more than a day.

Feel free to e-mail me at LearnC6Jazz@gmail.com and I'll get you whatever info you need.

Daniel

[Christopher Woitach]

For what it’s worth -

I give this book my absolute highest recommendation - here’s a remarkable opportunity to actually learn what’s going on with playing jazz, taught from the perspective of the pedal steel guitar! Very well written by two excellent jazz steel players, laid out logically, with a zillion crystal clear examples… and, amazingly, standard notation included, which isn’t necessary to utilize the book, but will greatly enhance its value to those of us who prefer it.

I think you cannot effectively write a book about pedal steel without tablature or something like it, due the mechanics of the instrument, but the inclusion of standard notation adds so much, to me.

Really great book - get it now… did you get it yet???? Now!!

[Regina Miller]

This book is amazing! I got mine shortly and I like it. This is what I am waiting for to understand jazz music theory. I use it for the C6 pedal steel and my C6 tuned 12 string MSA Superslides.

[Rick Schmidt]

I just got my copy of the downloadable version of this labor of love from Daniel and Richard, and I gotta say that even after playing jazz on C6 for 50 years, I've already learned some cool new ideas in the first 5 minutes of sitting down at my steel with it! Kudos, bravo, and well done gentlemen!!!

p.s. I was happy to see that you also included the 6th string E-F raise as one of your top 4 knee levers! An important one for me!

[Richard Alderson]

I have ordered a copy of this book and its clearly a basic and important contribution to the C6th neck and I am thrilled to pieces to have my copy. I think that the way its edited should become the new standard in Tabs and instruction. There is tablature and musical notation BOTH. I wish we could see old classic material such as the Winnie Winston book and the vast majority of E9th instruction re-issued with BOTH music notation, AND Tabs. Perhaps in the past there could be excuses for leaving the musical notation out (You CANT leave the Tabs out !!;) )... but these days with desk top software anybody can print both; I would really like to see our E9th teachers and E9th Tabs editors ramp up their game and publish Tabs and Music Notation - BOTH. Its funny that for lap steel that's almost the standard by our more outstanding forum lap steel teachers. But for E9th there's very little material that has both.

"C6th Jazz" is an instant classic. One of the reasons is that it incorporates this dual Tabs and Music notation format. I sure wish that was the standard for E9th.

Thanks Daniel !! C6th will never be the same.

[Daniel Jones]

Thanks, Richard, for the kind words, and I totally agree on TAB + notation approach.
"C6th will never be the same" is without a doubt the most gratifying thing to hear; I hope that our efforts do move the needle on this "most feared" instrument.
Dan

[Daniel Morris]

Absolutely agree that notation + tab is one of the best parts of the book.
Such a learning tool for C6/jazz pedal steel is LONG overdue, and I'm happy one is now available

[Roger Rettig]

I'm longing to know what the authors consider the top 'must have' knee-levers!

I have that 6th E to F, but on a pedal (4) and ,as well as the 10th raising from C to D, it's on my MKV.

I'll be ordering once these cursed contractors have finished gutting our condo!

[Daniel Morris]

I certainly cannot speak for the authors, but as I only play U12 steels, I asked Daniel about knee levers.

'On the knees, I have the same 3rd, 4th-8th string lowers, plus a half step raise on 4th-8th strings'.

This is for the C6 neck; I have the equivalent on my steels.

Naturally, I defer to the authors.

[Daniel Jones]

Hi Roger,

If your aim is to play standards, I think a 3rd string half-step lower (C>B) and a 4th/8th string half-step raise (A>Bb) are the most essential. With those (in combination with the standard 5 pedals), you can get all the major and minor diatonic 7th chords.

If you want to go in a more jazz-oriented direction, a 4th (or 4th/8th) string half-step lower (A>Ab) can add other colorful and useful voicings (e.g., min(maj7), altered dominant).

I find being able to produce a D in the mid strings (either 6 or 7) very useful in a variety of styles. My colleague, Richard, and others prefer lowering the 6th string a whole step (E>D); I prefer raising the 7th string a whole step (C>D).

Hope this helps at all,

Daniel

[Roger Rettig]

I'm not sure that jazz is my aim - it's a very broad genre, anyway - but I'm constantly looking for ways to open up both tunings to make extended chords available.

I currently lower the 3rd to B (MKL), raise both Cs to C# (MKR), raise 6 and 10 to F and D on MKV, lower both As to Ab (RKL) and raise the high A to A# (RKR).

What do you think about raising both As on that lever?

My P4 is in doubt. Now, I have it raising both Es to F but I think I'm missing an opportunity there.

Rather than jazz, I'd say sophisticated pop (Webb, Bacharach, etc) is my target. But I love music with clever passing chords and this is very much in the jazz domain.

I sometimes wish I'd learned the piano!!!

[Rick Schmidt]

Hi Roger.... I do raise both A strings, actually I raise both 4&8 A-A#-Bs with a tunable half stop on my RKR, keeping the traditional pedal 4 uses...which is definitely NOT for everyone...but it's an important one for me! On that lever I also have a half stop on my E9 2nd string...(which is why I say that it's not for everyone) That lever is a testiment to Frank Carter's wizardry! Of course he cursed me at the time in his good natured way, but he totally nailed it. I use it all the time!

You might consider trying raising string 7 from C-D on pedal 4. since you already raise your middle E-F on your Vertical. It's a beautiful change... especially due to it's being right next to pedal 5! It's great for Major and minor Pentatonics for single note lines, Maj9 and Maj13s, Quartal harmonies, the "What I Say" lick (and blues comping in general with pedal 5)
It also work great with all of your KL changes, with the exception of the C-C#