How is it Possible?

Reece Anderson · Post by **Reece Anderson** » 8 Nov 2005 11:47 am

Consider for a moment what we are expecting ourselves to do every time we play our steel guitar.

We must remember specific and varying fingering sequences, bar positioning and intentions of manipulation, control the pitch, know multiple positions of the chord being playing, remember the chord sequence of the specific song being played, determine what pedal(s) and/or knee lever(s) to engage, and..........while playing we continually form an opinion of how we are sounding and attempt to make any corrections necessary.

To further complicate the playing process, consider the different song melodies, chord progressions, and all the mathematical possibilities of each. And let's not forget there's a tempo to consider which adds the urgency of time, and greatly contributes to the overall degree of difficulty.

In the end, how we think, and how we play is verified by the sound coming from the amplifier, which is the culmination of all thought and physical participation.

Considering the enormous complexity of everything it takes to play, it’s no wonder playing can overwhelm the mind, and it’s also no wonder why a vast majority fall by the wayside and in doing so, deprive themselves of the possibility and opportunity to experience the joys of playing.

Unfortunately some who lose their enthusiasm because of frustration and being overwhelmed, may indeed have had the potential of being great players who quit playing because they simply never found the specific procedure necessary to insure success.

Those who pursue logic know there HAS to be a way to engage and manage all these elements of playing. After all, we see and hear great musicians everyday.

I believe the first thing necessary to find the answer, is to formulate the right question, and below is my attempt to do so:

“what is the specific process which allows a constant flow of mental and physical management of ALL playing procedures simultaneously, instantly, and continously”?

Like some of you, I have a theory, and I would therefore appreciate any insight and comments.

Joe Smith · Post by **Joe Smith** » 8 Nov 2005 11:51 am

Reece I can sum it up in one word. Talent.

Nic du Toit · Post by **Nic du Toit** » 8 Nov 2005 12:23 pm

Passion!
That's what's keeping me playing, even after a double stroke during September 2004. I've even released a new CD. The right hand fingers are still partially numb, but, we're getting there. So, maybe passion, as the driving force, should figure somewhere in your theory.
Regards,
Nic

------------------
<img align=left src="http://home.telkomsa.net/peterden/al%20saut/images/nightmarefront85.jpg" border="0"><img align=left src="http://home.telkomsa.net/peterden/al%20 ... ront85.jpg" border="0"></a>Nic du Toit
1970 Rosewood P/P Emmons D10 Fatback 8x4
Peavey Session 500 unmodfied
CD "Nightmare on Emmons Steel"
CD "Steel Smokin'"
Veruschka's CD "Don't Dream it's Over"
<A class=db href="mailto:alsaut@absamail.co.za?subject=Forum Reply">Click here to E-mail us.</A>

Rick Johnson · Post by **Rick Johnson** » 8 Nov 2005 12:45 pm

Reese
When I'm playing unfamilar material,
I have a little comfort zone I play
out of until I can hear the lyrics.
Its easier if there are more lead instruments to help out. I try not to overplay anything. Less is more.
You have made me think a lot about
how complicated the steel guitar
really is. I'm glad I didn't quit.

------------------
Rick Johnson

Billy Carr · Post by **Billy Carr** » 8 Nov 2005 1:29 pm

Very good topic first of all. Well, for me after 30+ years of playing, I tend to look at learning/playing Psg this way. Someone played what I hear on Psg on records,tapes,CD's or whatever. To me, that's means it can be done. So there's no reason I can't sit down and do the same thing. I'll try to get it as close as I can then add my own flavor or style to it. That's the main reason I listen to as many players as I can. Each one has something the other one doesn't have. My tastes vary anywhere from listening to Big E to Julian Tharpe. On any given day, I may be listening to Franklin or Hughey and then my taste may be Helms or Wiggins. Lately though, I've been studying the players that went beyond the traditional D-10's and onto the S-12U's/S-14's. I played D-10's for years which was a plus when I switched over to the S-12U. The concept of playing everything on one neck really appeals to me. It's so simple. But getting back to what the topic is actually about, I believe in the old saying, "Never quit". For a true player, I believe it's an addiction. Add the internet with all of those available options and it's understandable why so many of us are continuingly searching for and learning new info.

John McGann · Post by **John McGann** » 8 Nov 2005 1:54 pm

Another great, thoughtful topic!

I believe we learn/practice with the "left brain"- where the important data goes. I think we play/perform/improvise/feel with the "right brain"- the non-verbal side. By preparing ourselves with slow, thoughtful left-brain work, we can understand what is happening musically as well as mechanically on the instrument, we are able to play more freely and react to "what we hear in our heads".

I sound like I know

but it's just a little theory of mine. we don't have time to access all the information in our minds "in real time" while playing at tempo, so we need to prepare to be able to access what we need without having to think too much at the time...training to react to specific situations.

------------------
http://www.johnmcgann.com
Info for musicians, transcribers, technique tips and fun stuff. Joaquin Murphey transcription book, Rhythm Tuneup DVD and more...

Jody Cameron · Post by **Jody Cameron** » 8 Nov 2005 1:56 pm

Excellent topic, Reece!

I believe that the "specific process which allows a constant flow of mental and physical management of ALL playing procedures simultaneously, instantly, and continously" arises from:

1) A strong desire to succeed, bordering on obsession.

2) A COMPLETE mastery of basics such as tone, right & left hand technique, etc.

3) Knowledge of music theory concepts.

4) Deep concentration abilities.

Think about this - Once you have mastered one thing, it no longer remains the focus of your attention, and you are able to move on to more difficult/advanced concepts. The previous things you've mastered become second-nature and are done without a thought process per se. I believe they become "monitored" by the brain on a different level and sort of exist in the background of your consiousness. Therefore, bigger and better things can be the focus of your thinking....all this within the constraints of time, etc. that you mentioned when one is engaged in playing.

I believe that the ability to focus intently is a requirement for the process to proceed successfully. One has to be able to completely eliminate distractions, almost to the point of being in a trance-like state, so as to block all external input except the band (or tracks). At this point, even the band becomes only something that is monitored in the background, and not thought about on a consious level.

Reece, I've seen you in this trance state before when you are deep into it. And what comes out of your amp is nothing short of amazing!

JC

Fred Shannon · Post by **Fred Shannon** » 8 Nov 2005 2:21 pm

“what is the specific process which allows a constant flow of mental and physical management of ALL playing procedures simultaneously, instantly, and continously”?

IMO the process is our capability of accumulating a series of simple known procedures to learn a complex unknown task. This type of learning ability generally results in allowing the mind to develop a step by step procedure to control our physical bodily operations. Probably, repetition of these operations eventually culminates in an instinctive or reflexive action.

I know, in my case, I never think of what my feet and knees are doing. I guess that can be attributed to knowing my particular instrument and what all the levers and pedals do.

That doesn't mean I don't have to woodshed a new song. I certainly have to do that, but after I've learned the melody, it's all reflexive after that fact.

Certainly the desire has to be there.
Phred

Garth Highsmith · Post by **Garth Highsmith** » 8 Nov 2005 2:47 pm

.[This message was edited by Garth Highsmith on 12 January 2006 at 09:42 AM.]

Sonny Jenkins · Post by **Sonny Jenkins** » 8 Nov 2005 3:05 pm

The "Zone",,,to varying depths or degrees,,,,,

Jerry Roller · Post by **Jerry Roller** » 8 Nov 2005 4:03 pm

Talent, desire, determination and a major factor would be the caliber of musicians you are priviledged to play with.
Jerry

Mark Eaton · Post by **Mark Eaton** » 8 Nov 2005 4:15 pm

I don't have an intelligent answer-but my gut tells me that no one is really on to what Reece is looking for here-maybe Garth is the closest?

I believe "talent" to be the most overrated factor. To play a steel like Paul Franklin or dobro like Jerry Douglas-that takes more talent than most of us will ever have-so whatever mechanism allows one to become a great player may be a limiting factor for the rest of us that will always fall short of those fellows, no matter how hard we try.

But you can obviously fall short of Paul and Jerry and still be a very good-or even great steel or dobro player. Just like you can still fall short of Alex Rodriguez and still be a very good hitter in baseball, you just aren't MVP award material.

There is something else-and I haven't figured out what it is!

------------------
Mark
[This message was edited by Mark Eaton on 08 November 2005 at 04:58 PM.]

Michael Barone · Post by **Michael Barone** » 8 Nov 2005 4:29 pm

I believe that considering all the thinking abilities, "spatial thinking" is key here, in meshing the dimensional levels of the instrument. In other words, I'll bet that many forum members are good chess players.

------------------
Mike Barone
Sho-Bud Pro-1 5&4 with RHL | Nashville 112
Assorted Guitars & Keyboards

James Cann · Post by **James Cann** » 8 Nov 2005 4:30 pm

Am. Heritage Dictionary has these for talent: 1. a marked innate ability. as fpr artistic accomplishment; 2. natural endowment or ability of a superior quality.

The two words here are innate and natural. Without these presences (as in myself doing basketball), it doesn't happen.

Reese's comments about "multitasking" physical and mental energies are right on, Try as I might, I can't explain why I can do steel, especially as with six-string guitar, I can do nothing but strum chords.[This message was edited by James Cann on 08 November 2005 at 04:32 PM.][This message was edited by James Cann on 08 November 2005 at 04:33 PM.]

Charles Dempsey · Post by **Charles Dempsey** » 8 Nov 2005 4:36 pm

Have you ever been walking up flight after flight of stairs, just tooling along, and suddenly "thought" about what you were doing? I have. I nearly fell on my nose.

IMHO, the thinking part of the brain is not involved. I play better when I don't think.

Charlie[This message was edited by Charles Dempsey on 08 November 2005 at 08:09 PM.]

Connie Burton · Post by **Connie Burton** » 8 Nov 2005 4:46 pm

It"s just like driving a car. You just have to look where you are going at the same time as changing gears,breaks,turn signals exct...it just becomes 2nd nature.

Paul King · Post by **Paul King** » 8 Nov 2005 4:53 pm

While it does take talent and patience to play the steel guitar there is one other thing that keeps me playing. I want improvement in every area even if I never make a "super" steel player. We are in an elite group since I know very few steel players. Joining this forum has brought a wealth of information to me but putting it on that guitar is the hardest part.

Doyle Mitchell · Post by **Doyle Mitchell** » 8 Nov 2005 5:07 pm

Reese,last Sat. nite I had just started to play the steel break on a song when a woman walked up and started to talk to me, I had a conversation with that woman through the whole break without missing a note and when she walked away the whole band was just stareing at me and it then hit me... How did I do that??? I dont know myself.. but after thinking about it, if i had tried to think about what I was doing while talking I would have screwed up bad.. I too am interested in what makes us tick...Doyle

Bobby Lee · Post by **Bobby Lee** » 8 Nov 2005 5:17 pm

These abilities, from the simple to the staggeringly complex, are part of the way we are constructed. How is it possible? You need to know the mind of the Designer to answer that question.

Bob Hickish · Post by **Bob Hickish** » 8 Nov 2005 6:08 pm

There seems to be various concepts to
our ability to play the steel , Talent has
been mentioned ! & I don't think the lack
of that stops us ! what I find a limiting
factor is motor skills and ability to hear
and play a "Cover " tune - if you will -, I
seem to always play it my own way . The
only other thing is attention span when
having so much fun - add two EEGs fold in
and bake to a golden brown & serve with
catsup

Just kidding folks - I do find my self
day dreaming and wonder where I'm at in
a tune sometimes . some how we just do
it - it must be passion

Bob

Jeremy Moyers · Post by **Jeremy Moyers** » 8 Nov 2005 6:32 pm

I am going to paraphrase here, but Paul Franklin once talked about "practicing past the point of repetition." He meant that you need to practice a lick, scale, run, etc. until it is just second nature. It makes since to me. When playing a song for the first time, in the studio or live, I focus in on the direction of the song, lyrics, chord progression etc. and if I have done my homework properly the musical ideas that come to mind will just flow out of me. At this point I should not be concerned with having to think about what knee lever I am hitting, or what pedal should be used. I know from personal experience that it is hard to think musical if you are having to still think about basic mechanics. Practice past the point of repetition.

Curt Langston · Post by **Curt Langston** » 8 Nov 2005 6:36 pm

Intelligent Design.

Eric West · Post by **Eric West** » 8 Nov 2005 6:40 pm

God's Gift.

To be used as we see fit.

Like many others.

That's my Theory.

EJL

Willis Vanderberg · Post by **Willis Vanderberg** » 8 Nov 2005 7:56 pm

I think that learning to fly instruments in an aircraft was helpful to me in learning the steel.
You must be aware of the " Big Picture " and not concentrate on one any one aspect. When the music forms in my head the hands and knees and feet just are an extension of that.The melody is my " Big Picture ", then as my mind explores the musical possibilities my extremities do their thing to accomplish what the mind has formulated.
Now all this has made me tired..goodnight

Joe Shelby · Post by **Joe Shelby** » 8 Nov 2005 8:23 pm

Well, I thought I had it figured out about 25
years ago, when it seemed much easier to screen out what was going on in my conscious
mind and focus (actually focus isn't the word), and let my subconscious run free;i.e.
the trance or zen state. This has already been mentioned here, but in spite of depression and anxiety, I still believe that
this is the destination. I just don't have any answers as how to produce this state as a
regular part of your playing mind set.
I also am willing to add that knowing the
fretboard as completely as possible (which I
don't) will facilitate the degree of freedom you'll have when you do acheive the great state of trance. I also think, though, that
acheiving trance will also help guide you into some of those uncharted bar positions in
a non self-judging way (instead of "I can't play at fret X when I'm playing in the key of
Z").
I don't see the trance state as being exclusive in any way of the passion component. I think it actually is about enhanced awareness of your internal processes, it's not about being some kind of emotional zombie.
Anyway I lay down my two pennys in the plastic dish next to the cash register.

Joe.