How many are composing on the PSG?

Gerald Menke · From: Stormville NY, USA

Hello,

After a few years of being a very poorly-paid sideman here in New York, I have grown a bit weary of the grind of learning somebody else's material and carrying 200 lbs of gear around to make $40 if I am lucky. Not that I don't love and admire all of my fearless, tireless bandleaders.

Prior to playing the steel guitar I was a songwriter/bandleader myself, and during the last four plus years have tried composing on the steel periodically, but usually had to get back to work and learn a set's worth of original material in two days. Or practice harmonics for two hours. Thus any writing went out the window.

I have really missed the songwriting/composition process lately, so recently when I sit down to play I've had a different goal, namely to create some genuine themes and motives, which I am trying to string together to play with a new band I am assembling, which will be a trio of steel, bass guitar and drums. The idea is for it to be some kind of country/math rock/indie/ambient fusion. I'm getting together with the bass player and drummer tomorrow night for our first session, which will be the first time in history I have ever "led" a band on steel.

Anybody else composing original music for to play with a non-100 percent country band? I am not talking about playing "Steel Guitar Rag" or "Three Picks" with a trio here, not that I don't adore those songs. I mean writing songs with the steel as the main chordal instrument. I plan on doing some singing (and kicking my Elite Seat around) but first things first.

Sometimes I've found the E9 tuning seems too "high" to be suited for writing, but I think that results from my having written on six-string for so long, tuning down to D and C. So I've been focusing on melodies, themes more, to see what the tuning has to offer, instead of approaching it in a six-string sort of way. I'd like very much to hear from others who have tried creating their own compositions on the steel.

Thanks as always for reading my post.

[This message was edited by Gerald Menke on 16 March 2004 at 10:31 AM.]

Donny Hinson · From: Glen Burnie, Md. U.S.A.

If you're into thematically-based compositions, I highly recommend Susan Alcorn's CD "Uma". It's quite different than the standard-fare pedal steel work that's normally heard, and it's available right here on the Forum!

[This message was edited by Donny Hinson on 16 March 2004 at 01:22 PM.]

Bob Hoffnar · From: Austin, Tx

I'll sometimes get my ideas from playing the steel. Then I put it down on paper and expand/refine it. Then I'll put it back on the steel and try to keep it musical and playable.

The neck I use doesn't seem to matter much. I end up on whatever neck works better.

Keep in mind that the music I write comes out pretty screwy sounding ! So its a good idea to not do whatever the heck it is I do.

Bob

Jim Cohen · From: Philadelphia, PA

Gerald Menke · From: Stormville NY, USA

I agree Jim, not because of Randy Beavers, but because since I started to try using the 9th string more and four pick grips, I'm amazed at how intense harmony can be on the E9 neck. I can find just about any chord I want to hear now, 9ths, flatted 5ths, diminished chords, you name it. And they were always just sitting there.

Thanks for replying.

Bobby Lee · From: Cloverdale, California, USA

I compose original music on pedal steel. Sometimes I go back to the computer (with BIAB) to put together sample rhythm tracks, but the basics of the songs usually evolve from something I worked up on the steel.

The low half of extended E9th is real good for developing chord progressions.

------------------

Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (E6add9), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax

chas smith R.I.P. · From: Encino, CA, USA

I've been composing on the pedal steel for about 25 years. On the E9 there's over 3 octaves and on the C6 neck, 4 octaves and a 5th worth of stuff to work with over 24 frets, with a "normal" tuning. One of the problems, or advantages, depending on your perspective, is the steel guitar has a very strong "signature", which is good for idiomatic kinds of music and difficult to break out of, so traditional A, B & C pedal figures or phrases can really be a curse.

It also has an unearthly sound which blends beautifully with voice, percussion and orchestral kinds of instruments, and which opens the door to less traditional music forms which is where my writing has focussed.

fraser · From: seattle wa

I've been composing on the pedal steel for about 4 years - C6 - for solo pedal steel. I love composing on the steel but obviously, much of it can't be played by other instruments.

It's been a trick coming up with tunes that can be played solo and still have some interest for audiences. So I alternate rhythm and melody or combine them by using double stops. The compositions tend range from bebop-ish, ambiant, soft jazz,new music and free bop.

Fraser

Dr. Hugh Jeffreys · From: Southaven, MS, USA

Gerald (& others): I am currently writing 2 books, one on Sight Reading for steelers, the other titled, Jazz Phrases for PSG. The latter will feature jazz studies played by me with a professional background, also will be written in complete notation so that one can see what he hears. You might know that I don't play country, and don't use fingerpicks, but I do use all five fingers. Congratulations on your ideas and future steel work. HJ

David L. Donald · From: Koh Samui Island, Thailand

I am composing periodically as my knowledge of the steels 2 parallel logics increases.
BIAB is a good way to organise the basic patterns and then to add variations.

I have written some very interesting things, but am trying to scale them back to more repeatable forms.

Dr. Hugh If you ever want a guinie pig to test ride your jazz book chapters and give you feed back, I'd be interested.

[This message was edited by David L. Donald on 16 March 2004 at 04:15 PM.]

Rick Schmidt · From: Prescott AZ, USA

It's good to hear that you guys are doing this. That's always the direction I imagined that steel should go. I've been working on a couple things lately myself. I'd love to hear some of your samples to download from the web.

Dr. Hugh Jeffreys · From: Southaven, MS, USA

Thanks David L - I'll be in touch. HJ

Dave Horch · From: Frederick, Maryland, USA

I feel a Mike Perlowin post coming on...

David Mason · From: Cambridge, MD, USA

I write on steel a lot - I only play C6th, in part to avoid the cliche sounds. My stuff goes back and forth between standard guitar and steel, I try to learn/write the parts on both. I'm not much influenced by other steel guitarists right now, my "technique" as it were is more defined by the demands of the music in my head.

Gerald Menke · From: Stormville NY, USA

Well, I ventured into some new territory for myself, jammed for a few hours with a drummer last night. Regretted pretty quickly not bringing my D-10, as the sound of just E9 and drums seemed lacking. VERY different matter to be actually putting changes together instead of just playing back up, I'll tell you that. But still totally fun and challenging.
Ended up playing lots of parallel Maj7, 9th and flat 5 type stuff with some chromatic soloing, I'd never really played like that before, certainly not in any sort of band context. Tonight the drummer (my very talented brother) and I are meeting with a bass player to see what happens. I can hardly wait! I will be bringing the D-10, though, for sure. Thanks to all for your posts and emails. Keep 'em coming.

Gerald

[This message was edited by Gerald Menke on 17 March 2004 at 12:09 PM.]

Gerald Menke · From: Stormville NY, USA

I just found this great quote from Joe Wright, from 2000, I hope he won't object to my using it. Really hits the nail on the head. This was was from an interesting thread on getting non-country sounds from the steel, but Joe made the following observation that applies here, (Thanks, Joe!)

He wrote:

"If you really want to get "there" then I suggest you start playing in a trio. This will make you play all music types and you can't rely on the guitar player or piano to bail you out. You are the guitar player. You are the piano player. You have to pad the rhythm and play all solos all night long. Great for building up stamina and physical dexterity.

I play steel guitar totally different when I'm in this situation. The standard fills have to be there but you also have to be part of the rhythm section, horn section, etc. In a big band you have the luxury of someone else playing the other parts and you can concentrate on playing just steel cliche licks. (depending on the type of music).

Of course in the trio you also have to sing lead and harmony."

Wow. I have my work cut out for me apparently.

Mike Perlowin · From: Los Angeles CA

I don't compose. I arrange works of other composers.

I've attempted to write stuff, but after working with the music of giants like Debussy Stravinsly, and Bernstein, and more recently De Falla and Rimsky-Korsakov (the next CD,) I've come to the conclusion that my compositional talents pale in comparison, and that I'd rather record great music written by others, than mediocre music written by myself.

Forum Index > Steel Players		Next oldest topic :: Next newest topic

All times are GMT - 8 Hours	Jump to: