The Steel Guitar Forum

Eugene Cole wrote: Many beginners do not use their pinky in the beginning and it becomes a habit.

Shame on Buddy, Lloyd and Jimmy for leading us into three finger habits

Dick Sexton wrote:"Nearly all the bigwigs only play two notes at a time." Right...

I'd rather know harmonized and not know the song the band was playing, then to know the song and not know harmonized scales.

Dick, the problem with the Internet is that is hard to see whether you were agreeing with me was that was the sarcastic/ironic "right"
It seems like many new players, upon learning harmonized scales, want to play every move in 3 parts. While most of the big guys let double-stops rule the ballads and shuffles. Feel free to point out Crazy Arms and Way to Survive, but in both cases, that's 3/7/9. Almost all the legendary "pretty rides" are done on two strings. And I was so proud of myself when I found the third part on my own, and I showed my teacher.
He commended my effort and ability, then showed me WHY it worked better with two.
The notes you leave on the neck are more important than the ones you send to the amp.

Absolutely, harmonized scales and how to use them are among the most important tools on the E9th neck.

Your very welcome. Now, if you do find that the wood is what you would like, and correct height, here is a suggestion. Find some kind of strapping, or heavy wire, and make 2 hooks, mounting them to the wood, so they can hook onto your pedal bar. That way the wood will not move, as your foot is wiggling around. Make it small enough so you can take it with you if you play out somewhere. Good luck, Ronnie

Lane Gray wrote: I was so proud of myself when I found the third part on my own, and I showed my teacher.
He commended my effort and ability, then showed me WHY it worked better with two.
The notes you leave on the neck are more important than the ones you send to the amp.

Absolutely, harmonized scales and how to use them are among the most important tools on the E9th neck.

Lane...why does two strings work better? Is it a cleaner,sharper sound? "Clams" are less likely/less noticable? More positions to work with using only 2? Simpler and easier to improvise and come up with stuff?

I know you're right, and I've been playing 2-note harmonized scales like crazy lately, up and down the neck in different keys....mostly 3rds and 6ths, using stings 3/5 and 5/6 with A&B; 5/8 with A&E-levers; 4/6 with BC....

I think it's that the pretty gets lost underneath the other notes that Buddy, Lloyd or Hughey left off. They usually leave 'em off unless they're needed.
If you have an ear for vocal harmonies, find the third part for some Louvin Brothers stuff. Then listen, and realize it doesn't improve things.

EDIT: I'm sure you know Tom Brumley's ride on Together Again. Add the 4th string. Report your findings.

Lane Gray wrote: Shame on Buddy, Lloyd and Jimmy for leading us into three finger habits

Others have also picked up this habit..... myself included when I got my first guitar book. A copy of the Aaron Shearer book "Classic Guitar Technique, Vol 1"

I have learned a great deal since then. And by the time I got a PSG I knew how to pick with all of my fingers.

The way I am learning, I need that pinky and ring finger to palm block properly, give me a good anchor as I prefer a strong attack. Sure, there are players who get plenty of use with those fingers as a picking appendage, but somewhere you have to make choices that support a stylistic objective and natural direction. Every choice has a benefit and detriment on its own, but as part of a greater whole these choices can transcend the prior limitations if they are informed and honest. Later on we might get to that place where we are approaching art, rather than just being instrumentalists. Hell, a man can dream.

Lane Gray wrote:I think it's that the pretty gets lost underneath the other notes that Buddy, Lloyd or Hughey left off. They usually leave 'em off unless they're needed.
If you have an ear for vocal harmonies, find the third part for some Louvin Brothers stuff. Then listen, and realize it doesn't improve things.

EDIT: I'm sure you know Tom Brumley's ride on Together Again. Add the 4th string. Report your findings.

Ok, Lane, I did as you suggested, played that ride both ways, first without and next time with the 4th string (using my E-lowers/raises to get the correct harmony part). My goodness, I knew you were right, but hearing it for myself....totally convinced now. Just about everywhere, that 3rd part just muddies things up, makes the melody less clear, sharp, and "pretty".

Wow, you guys and gals need to try this for yourself, I think this is huge, to really get this and start using it. Most of you probably already know and use it, but I'm a fairly new player (less than 2 years still).

Lane, of course now you've ruined many of my intros and breaks, I spent this afternoon reworking some of them, looking for notes to leave out. It's a matter of using one's ears and figuring out which string to drop off, usually it's pretty obvious, but not always. Also, I've found that resolves at the end of phrases tend to be one place where 3-notes often works....

Lane, what I ment to say was, Right!!!!!! As in, I'm in total agreement.

Almost everyone who sticks with it will find places to use the "Big", 3 and 4 note chords, even rakes. But there is just so much in the concept of 2 note harmonies. Also I think there are about three threads right now on tuning. When if your using the 2 note harmony concept, playing in tune becomes so much easier. I think that is why we hear, "learn to play in tune".

I work on two note runs, fills and harmonies all the time. Pays big dividends...