The Steel Guitar Forum

With all this talk, I had to have it. Ordered one from Scotty's, but got an email saying out of stock, and from the sound, it didn't sound like they were going to get any more soon. (Hmm...must have been a run on them) Any other resources?

Great comments by Larry and Doug and others.

One way of understanding the run better is to think of it as a melody and to play the same melody in a different way. I was thinking about this thread this morning when I sat down at my steel and tried this. Starting on the third string at the third fret, and using several strings and your A & B pedals, you can play almost the whole thing at the third fret (the only exception being that you have to move the bar up two frets for the third note). Play it that way for awhile and it is really refreshing to go back to playing the "one pedal, two finger, three string" version. Sorry I lack the tablature-writing skills to show you what I mean.

Here is what it sounds like. If this is wrong to post this, (I bought it), let me know and I will edit it out.
http://steelgtr.home.netcom.com//tab/weldonnormal.mp3
bob<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bob Snelgrove on 16 October 2002 at 05:58 PM.]</p></FONT>

A 25 year old lick?! Isn't this "public domain" by now!


Terry

<SMALL>A 25 year old lick?! Isn't this "public domain" by now!</SMALL>

The U.S. Supreme Court heard arguments last week on this matter and will issue their decision in a few weeks. In the meantime is your opportunity to bribe the justices, if you think you can give more than Michael Eisner can spend to own Mickey Mouse.

Click the link below to hear a pattern played in the style of the pattern under discussion. It starts on fret 15 and winds down to fret 3 and then back up to fret 15, and uses only 2 strings and 1 pedal (pedal B). String 7 is not used in the samples below. String 7 IS in the pattern under discussion in this thread. So my pattern below is a bit simpler (less notes) than the original one. The first note is on string 4, but every other note heard is on strings 5 and 6 only.

The pattern plays 2 times on the mp3... over 2 different chord progressions in the key of G. There are a couple seconds of silence between the 2 samples. This comes from my Advanced Speedpicking tablature/CD. In the course I play the pattern over 6 different chord progressions, but I edited out just 2 for this mp3.

<CENTER> Click Here for mp3 Sample </CENTER>

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<font size=-1>My Site - Instruction | Doug's Free Tab | Steels and Accessories</font>

Great example, Doug!
Larry, if you want an example of how to 'take it back up' after the descending portion leaves you at the third fret, Doug's pattern may be one you want to learn. Studying it and getting it "under your fingers" will help prepare you to twist it around to become YOUR lick.

If you want to hear more "in the style of", just listen to Bruce Bouton's solo on Ricky Skaggs' "Highway 40 Blues". Measures 4-8 of the solo use the no pedals descending to the A+B position from the pattern, customized to become Bruce's lick. Been one of my favorite solos for years. you can hear it here.

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<small>Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Larry Bell on 17 October 2002 at 07:31 AM.]</p></FONT>

Very Good, I'll take all the instruction I can get.

It's important to mention blocking here too. Pick blocking seems to work best for this type of pattern. Without blocking everything just runs together.

<SMALL>Pick blocking seems to work best for this type of pattern</SMALL>

I respectfully disagree. No reason this can't be crisply played with palm-blocking.

I've tried it both ways. I normally palm block but on this lick, pick-blocking seems to come naturally to me.

As a veteran, almost exclusive, palm blocker, I hear what you're saying Brother Jeff. However, this lick requires a real slippery legato feel that is easier to pull off at breakneck tempos when pickblocking. (can't believe I said that)

It's one case where I will almost always pickblock -- particularly with the adjacent string orientation. I do still palmblock the forward rolls, however (like the 7,6,5 patterns that happen a couple of times in the lick).

FWIW

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<small>Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro

I mostly use pick blocking for the fast stuff. My mp3 above is played at a moderate tempo using pick blocking. Imagine doubling or tripling the tempo for a bluegrass tune like Rocky Top or Orange Blossom Special. For me, pick blocking works better and is smoother for speedpicking. To each his own I guess.

<SMALL>tripling the tempo</SMALL>

I dare you to do that. BTW, the clip is at 95 bpm. Three times that is 285 bpm. <FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Jeff Lampert on 18 October 2002 at 04:11 PM.]</p></FONT>