The Steel Guitar Forum

I have gotten in the habit of breaking up practice sessions into several per day. 20 minutes I spend on excercise. I take a break and come back to it about an hour later. I spend about 30 minutes on the E9, and take another break, and repeat the same with the C6...The break gives me time to really think about what I have learned. By evening usually sit down for a solid hour and comp from Mp3's with current radio, and old country hits....this has worked really well for me...

I've always hoped that others may agree that MUSIC APPRECIATION is at the root of motivations compelling a steel guitarist "TO PLUG IT IN".

Bill. I"d have to objectively say that in my case it is not necessarily that way.

Most people listen to music more than I do. Oh I hit the "country affiliate" once in a while listening for the "new Ricky Scaggs", or to see if maybe they are getting paid to push Paisley's better tunes, but for the most part, I don't listen.

WHen I do, it's only to either the place that I'm at in my Duke Levine Country Soul Guitar CD, or Brent /Randy Mason Smokin Section. Both of which have kept me rapt in attention for most of a year now.

Nothing in life will dash the willpower to the brink of dissolving, more readily than blatant disinterest, by remnants of antisocial, and disdainful groups, who ignore worthwhile pursuits.

Such is most public playing, unfortunately. "Dancers" being the worst.

Avoiding distractions that interfere with goals, would be some of the better approaches to insuring steady, and gainful rewards.

Here's another one:

If you are learning, and studying, DON'T go out and see other players that play poorly. If you think you are going to see and hear them and come away with ANY kind of "inspiration", or "feeling better than" thing, you are WRONG. Don't ask me why. Maybe some kind of subconcious mechanism. Strive to go out and see and hear players that are BETTER. Just like playing in bands with "better musicians".

A Case in Point was when I went and played a "freebie" "pitiful door money" gig opening for Deke Dickerson. He played a Les Paul, which I usually don't like through a PERFECT Vintage Standell Pair, and played standard "Rockabilly/Swing" with such Coolness, Ease, and perfection, that while I was still not into a "Telecaster Revival" at that point, it inspired me beyond belief, and I went out and played much better for the next run of bands for about a year. It still mystifies me.

Not saying that I am in that category by any means, but when you find yourself a "leper with the most fingers" in your particular "colony", you are probably better off not going out at all, and spending more time playing with canned music at home, with just enough public exposure to keep your Mojo together, being able to ignore the out-of-tuneness, and the "same old areosmith licks" just long enough to get your adrenaline channels running at full force for a time, and PAID.

Performer/audience appeal is the ultimate goal.

IMHO, an Audience of The Public is only a tool to inject your self esteem to deeper levels of yourself. You cannot take "short cuts". You cannot do "Re-Dos". You cannot pretend you didnt' fluff a lick or qu@@r your intonation. It's like having to climb a rock face and really having to drive your carabiners (sp?) IN, instead of just sitting home pounding them into your sheetrock walls..

I look at The Audience in much the same way a True Buckaroo looks at a Cow:

Only useful for Training your Horse.

And eating one once in a while..



EJL

Chris Ivey...

nope...mainly a reluctance to 'start' practicing....which may account for the fame and fortune i now enjoy!

Having a phone hooked to my ear, 2 PCs, a Notbook, tabledit, BIAB, digital workstation, protools, giving lessons, pickin jobs, a lot of music software that I haven't even opened and of course The Steel Guitar Forum and listening to music so I can keep up on the latest. Who has time to practice?

Eric,

I want to pick on one of your thoughts by singling out your advisory to sit in with "better" players. Unless my memory is failing, I recall that the "better" players are starving to learn themselves, which complicates a routine intermingling by request. Experienced bandleaders are always on the lookout for top of the line lead players; another hang-up for the mediocre player. When a hot picking steel guitarist frequents a particular area, word gets around fast among competitive players. He/she will be offered more work than can be handled, unless I miss my guess. This action may cause a displacement of positions, wherever the super picker locates. The only consolation is a scarcity of steel players in a given locality, with the exception of Nashville, Tn. I'm risking disfavor by telling it like it is, but for now, these are a few of my observations. I appreciate your generous input, don't stop now!

Well Bill I'm not sure that's true.

Of course you know I meant by "playing with better players", better musicians, and not surely steel players in the same band.

One exception that I have found is lately I've played a couple gigs on guitar, in a band that had fine steel players. One is Doug Jones, and the other is a local guy that's a manufacturer. I share ideas, and try to play things I would want to hear behind, and across from a Steel. Much to both our pleasure.

I have never "taken" another players' job, and I can say that I have played more gigs in the last 30 years than any player in my area that I know of. Also that I consider many of my fellows "better players" than myself, and I haven't been "bumped".

I can also go out and get a 6 string guitar gig after playing one seriously for two years, where there are guys sitting home that have been playing for 40.

I think "Experienced Bandleaders" want a guy or gal that doesn't outshine the feature act for one, and that draws attention to themselves only as a supporting player.

You have to look at it much like a hunt, and take the attitude of a hunter. It's you and the prey. That's it. You don't spend your time hunting worrying about what other hunters are doing, or worried that there are better hunters. If you do, you are destined to miss your quarry.

I sense that you are looking for absolution for having a defeatist attitude.

I can provide you none.

Or reasons to abandon the quest for playing better and seeking live gigs.

I don't acknowledge their existence.

Much like a fish doesn't see anything that's not a "bug".

This particular sensory handicap has contributed to my last 30+ years of continuity.

Does that help?



EJL

PS:

There is a Civil War "Allegory" that I remember.

Gen Sherman was describing the differences between himself and another successful General, U.S. Grant.

Paraphrased, it goes: "Grant doesn't give a damn for what the enemy does out of his sight... But It worries the hell out of me.."

No one way is right for any two people Bill.



EJL

Eric,

I must commend you for never taking another's place in a band situation. It's been close to 20 years gone by, at this time, since a bandleader from my area became disputatious with his long-time steel player. The usual friction kept flaring up over a disagreement until the "Steelie" decided to walk. Sort of a "my way, or the highway", conflagration. The regrettable part came later, after the position was filled randomly, by a few local steel guitarists. It developed into an unfriendly scenario, acted on, by a disgruntled "steelie" who became "vexatious" toward those assisting his former employee. Luckily, it was more of a facade to save face, and the whole escapade faded into business as usual.

For those who may be contemplating future band assignments, by all means, proceed with confidence. Some folks, musicians or otherwise enjoy the art of "attention grabbing". This may have been the case or explanation for the displaced "steelie" to feel that any form of superseding was unacceptable. There were no 20" guns twirling at the time, just minor verbal outbursts upon innocent steelies who may have found their way into close proximity with the unemployed subject. Other than the chance of witnessing the breakup of a long-term friendship, (which never happened), I regarded the entire scenario as petty nonsense from the start. If you can imagine a humorous flair combined with a change in personality, you would be hitting close to the original mix-up.

Well Bill, I am grateful that my "local situation" isn't say as competitve as Nashville, Austin, or other parts of the country, where there is intense competition.

I did remember a local friend that split ways with a band, and referred me to his "slot". Very complimentary toward the band and "artiste".

Well after workign up the 'work CD', I talked to the "leader" and heard a torrent of complaints and childish crap from her/him about my friend.

I didn't take the job, with very little notice.

ALso on one occaison, I found at a rehearsal that I'd be replacing a guy that could "barely play". I asked if they had told him, and they said "no". I didn't take the job.

Also in my memory there was a time when Danny Shields had "left" a couple jobs. They were ones that there was a totally out of hand level of drinking, and he was not doing it as successfully as the band leader. I worked these jobs, and because I didn't drink at all, I did just fine. I was later to understand that Danny took mild offense at my taking them because I was a "tee-totaller". I felt dismayed, but the jobs were just kamakazi missions for money that were soon over because of the bandleaders' drunkenness.

Like I said, I'm grateful that I have had relatively few situations where long term resentments have crept in.

When they do, I usually make the right decision, and live with it.

YMMV as always.



EJL

Eric,

Thanks for sharing those segments of life as a steel guitarist. We do have a few things in common that pertain to surviving in this world of survival of the fittest. I avoid smoke and concentrated "booze". In order to wet the whistle, either water or plain soft drinks suffice in the overall plan to disengage in poor health practices. I never thought that I would live to see the day that constituted authorities would enforce regulations for the benefit of the minorities. It's a real treat to breathe clean air. Well Eric, I'm satisfied with my efforts to date, having devoted those practice hours of late, tracking John's "Look at Us". It's mighty pretty, if you get it down with feeling.

Mickey A.,

I have wondered if flying contributes to practice incentives, just as many external influences do? Are the lights of Albuquerque, New Mexico as beautiful as some writers have indicated? Thanks..

Good thread, Bill.

Here's a treatise on practice I posted three years ago:

This post is not intended for “polished” players; it is intended for those of you who are relatively new to the steel guitar. The older guys may think it is trite, but I don’t care. I just want to do what I can to help the younger generation. The world needs steel guitar players, and you younger people are the future of the music world.

My case is an extreme one, but I believe it serves as a good illustration of the importance of practice. I decided to post my “story” for the benefit of any up-and-coming young steelers who have to force themselves to sit behind their instrument for hours at a time.

I played steel professionally for about 17 years, surrounded by excellent musicians on other instruments. I practiced at every opportunity, although a lot of time was on the road going from one gig to the next. I became moderately proficient and built up a relatively fast right hand during those years.

Then I quit music and rarely even touched an instrument for over 40 years. When I retired from my “day job” in May 2003 my wife bought me a D10 8+4 and a Nash 1000 amp and I began trying to get my hands back in shape. For the first few weeks I couldn’t even get through “The Waltz You Saved For Me” without major mistakes – mostly associated with manual dexterity. Most of my music knowledge still resided somewhere in the back of my brain, and came back pretty quickly as I brushed away the cobwebs. But execution (especially with the right hand) was a major problem. I have been saying for months that “I can still remember all of my hot licks; I just can’t get there in time.”

But I have been determined to recapture the joy of playing steel with real bands and real musicians. So, I have been practicing for 2 to 4 hours each day – including Sundays and holidays. I still can’t do the “speed picking” stuff like the real pro’s of today’s world, but after just seven months I can hold my own at jam sessions and steel guitar shows. I can see the practice starting to pay off big time. So, the benefit of regular practice is very clear to me. Hank Garland, an old friend of many years, was a teen ager when I first met him, and was playing some nice stuff on lead guitar -- but he wasn’t setting the world on fire. But he practiced eight hours each day, and within just a few years had become one of the best guitarists in the world. Even the great George Benson was a follower of Hank, and Hank wound up in New York playing with the super jazz jet set such as the legendary Charlie Parker. He didn’t get there through any magic formula or short cut; he got there by practice, practice, practice. Don’t ever underestimate the value of practice.

When you practice, don’t just keep going over the stuff you can already do, spend at least half of the time trying to reach beyond your present abilities. Push the envelope. Pick a lick you “wish” you could play and keep at it until you can play it. Then still keep at it until you can play it flawlessly. Then move on to another lick. Learning to play like the pros is like eating an elephant. You can do it if you take one bite at a time.

The best advice I can give young steelers is the advice I used to give my students: If you enjoy playing but don’t enjoy the learning process, you will never become great. You have to enjoy learning – and you have to enjoy practicing. There is no substitute for practice.

Roy A.,

Thank you for the conceptualization as you make clear the important advantages of a dedicated and continuous "practice" study; at regular intervals. I agree, and think that for anyone who finds the task of deliberately persisting, quite necessary, to be on the right track to successes.
Perhaps we could coin a phrase, such as; "It's a bad day, when we've learned nothing new."

Roy A.,

After pondering your words, I am prompted to inquire if you characteristically advocate facsimiles, or prefer originality in musical expressions? The popular chasing of recorded artistries are at times, difficult to emulate for many reasons. I had interviewed "Little Roy Wiggins" for The Country Music Record Newspaper, back in the eighties. "Little" Roy was a staunch believer in originality. Examples that have been set in place and originality, in combinations, may produce the ultimate in progressive practice sessions.

Bill,

I can't speak as eloquently as you, but here's my take on your question:

I have always tried to take the chord patterns, licks, etc. by the better steel guitarists as inspirations which led me to try harder to accomplish the same level of perfection, but not as things to be copied. Anyone, no matter how inexperienced, can copy someone else’s work – especially with such aids as provided by digital technology. You can put another’s recording through digital analysis (e.g., BIAB) and the programs that slow down the music, etc., and learn to play a lick or passage created by someone else. I admired the work of players like Joaquin Murphey, Noel Boggs, Alvino Rey, and others – but I didn’t want anyone to say or think, “He plays just like Joaquin or Noel or Alvino." What pride can one take in that kind of outcome? I had much rather have them say or think, “That guy isn’t real great, but he’s playing some stuff I’ve never heard before.”

If I went down to X-Mart and bought a paint-by-the-numbers canvas of “Mona Lisa” I might be able to come fairly close to the original – but, would that make me as good as Da Vinci?

I'm a new player, going strong for only a couple months. I've played guitar for a lot of years, though. So I'm used to the rigors of practice, which in my opinion is differant from playing. Practice is where you go over new techniques, memorize things, figure out patterns. When I feel my brain turn to mush, I pack it in. No point in continuing, my brain's saturated and can't hold any more. Could be after an hour, could be 10 minutes. If I take a break, I can go back and usualy pick up again. Playing is where I explore, and get a feel for the instrument. Since there's no real goal, I can go for hours. But I need to practice so I can acquire the skills to play competently.
I think it's important to develope your own style. You'll never sound like anyone else because you're not that person. You'll never sound as good as yourself. With an intrument as expressive as the PSG, isn't that the point?
PS Thanks everyone, especially b0b for putting this shindig together. You've all made this pursuit possible for me, and I'm very grateful for it.
Chris

I cant practice for more than ten minutes, and I dont even get that everyday....when I do practice its the same three tunes, a few picking excercises, a few licks and "goofing around". Ive only got myself to blame for my ineptitude I guess....but i cannot force it. I need a teacher for guidance and direction if nothing else.

Roy A.,

If I were to say that you are the epitome of integrity, I would be on the mark. Thank you for the kind words that are significant, coming from a man of your stature. There is another rewarding situation that ties in with steady practice. That would be the likelihood of STUMBLING onto one of those rare findings, better known as LICKS. Others may recall, the rewards of inadvertently straying a bit from the usual playing technique, and instantly realize they've discovered a catchy variation of the melody. At that moment, the realization comes winging in, that practice isn't without rewards.

Chris Buchanan wrote:I'm a new player, going strong for only a couple months. I've played guitar for a lot of years, though. So I'm used to the rigors of practice, which in my opinion is differant from playing. Practice is where you go over new techniques, memorize things, figure out patterns. When I feel my brain turn to mush, I pack it in. No point in continuing, my brain's saturated and can't hold any more. Could be after an hour, could be 10 minutes. If I take a break, I can go back and usualy pick up again. Playing is where I explore, and get a feel for the instrument. Since there's no real goal, I can go for hours. But I need to practice so I can acquire the skills to play competently.
I think it's important to develope your own style. You'll never sound like anyone else because you're not that person. You'll never sound as good as yourself. With an intrument as expressive as the PSG, isn't that the point?
PS Thanks everyone, especially b0b for putting this shindig together. You've all made this pursuit possible for me, and I'm very grateful for it.
Chris

Right on, Chris.

Chris,

Welcome aboard as a new member on the Steel Guitar Forum. I detect ambition, skill, patience, and virtues in your written words. Your earlier experiences while chasing down the mechanics of the Spanish guitar, facilitates an excellent spin-off point. This would allow for you to transfer the accumulated knowledge directly to the steel guitar. When a musically inclined individual, (such is the case with you) moves on to "better" things, by approaching the mechanics of playing "steel", it opens up an expansive field of study. Your sincere pledge to recognize the countless efforts made by b0b in this publication, lends credence to the hope for future successes in learning new skills with our favorite instrument. Defining the approaches to success, may involve playing a simple "lick"; as well as it can be played by anyone, anywhere, or anytime. Major concerts have spawned from the "licks" of beginners. Thanks for communicating in the language of depicted successes, by updating new experiences constructed through regular practice sessions.

I have one last point to stress while trying to engage forum members in a swapping of preferences. The likeableness as it pertains to practicing on the steel guitar, is different in the mind of each player. Some like chocolate, while others like other flavors,(so to speak). There are those who prefer Ford automobiles, while others are drawn to G.M.,or the Chrysler Corp. As they say, some gentlemen prefer blonds, while others are very content with red or brown tresses. As sure as time passes swiftly, practice doesn't fit into a category of finicky choosings. There are no great varieties of choices. It's difficult to dicipher another's approaches to practice, but from sounds emanating from a players amp, accurate evaluations are instantaneous.