The Steel Guitar Forum

I think in almost any field of endeavor, we reach a point that our abilities and desires sort of level off and we make very little progress after that point is reached. To move up to the next level, I think you need to hire a "coach". By yourself, I think you get just so good but will probably never get much better. You peak out at your ability. Professional help can move you up a notch in my opinion. Also, I think it is more important who you have been around learning the steel, not how many years you have been playing.

Is there anything more pitiful than a recollection or hindsights of possessions, or opportunities that were once at our fingertips? I believe that the recall bears a deleterious effect, which is reflected through a demoralization process, recognizable by a major drop-off of musical pursuits. The realistic value of looking into the future with a long range view, will
stem the regrets of erroneously allowing oneself, to miss out on the golden egg. The development of self-discipline relies mainly on the ability to make wise choices.

Bill H.

Bill.
I don't think trips down memory lane hurt anything unless they increase ones' satisfaction with their playing ability.

You're right in one respect.

Visualizing the Past is not harmless.

Visualizing the Future is a challenge.

I do this.

Often I can lay in my bed and inagine I am in a place I lived in years before, say a trailer at the sawmill I worked at in the early 70s. I can visualise the placement of the doorway, the chest of drawers the windows, and actually bring back olfactory memories, and hear the chipper starting up to begin a shift.

Similarly with a barracks room I lived in in the military, or a dozen other places I lived.

Those memories seem to put me in a bad space, and do not do much for my self esteem. Nothing earth shaking, but I do notice a negative effect.

Conversely, I will lay there and imagine a future abode. I sill visualize a beam ceiling, a nice hardwood floor, and go further, looking out the window and seeing a wooded view, or a nice garage with a couple of harleys parked out front. Or an alternate view from a nice motor home parked in a yearly ocupied lot in a dry climate during the winter.

I find the latter visualization is more challenging to be sure, as one cannot rely on memory to construct it.

I find the effects to be much more inspiring and uplifting, and I tend to face the coming day with much more "hope", and am more willing to do things that move me out of negative circumstance.

This does relate to Steel Playing, and I DO find that learning a new lick off a PF CD, a MS tape or just the radio puts me in a better space than going over "Cool it" or "4 Wheel Drive".

That is probably why it is more difficult. The Old Plateau, is seldom where Success lies.

You bring up a valid point, and I congratulate you on doing so without putting it in the form of a "Theorum" at the risk of your efforts being called "incomplete" somehow.

It is risky, but I think in this case, several valid observations from other Steel PLayers, including possibly The Best Steel Player have surfaced.

I find that when trying to take a passing dog into custody, grabbing one by the ears is still the preferred method. .




EJL

Bill,intesting post

Bill,intesting post
Time has made a chump of my desire, and my ability is still here though I'm leaning in a different direction. It seems that I find more joy just playing in my home than on the bandstand or anywhere else, everything changes no matter what. and sometimes our musical taste changes too. Mine got tired of the same old tired songs that haunt this insturment, to the point where I think flight or fight.
Mabey we have to few poeple at the top that are doing all the work and little creative marketing. I'm flat out tired of hearing Paul(though he's a great player) every time I hear country. I jsut belive we have lost diversity in recording and that we consintrate in trying to hard to play redicusly hard stuff that only a small percentage of us could play anyway, If your into that fine that's Your thing however it's not mine. There needed to be more Jeffs and fewer BEs and PEs but what do I know?

J.C.

Eric W.,

Your responses to this thread, have been pure enjoyment to read. You possess a great gift in writing. Your thoughts seem to flow like a mountain spring; really cool, and uplifting to the spirits. I've spent some time working at sawmills, when the going was rough. The hot sun, and the noise, combined with long working hours, leaves much to be desired. I spent most of one morning cutting a huge red oak tree, with a cross-cut saw. I was on one end, while the "Bull Of The Woods" pulled the saw with a steady rhythm; from the other. That memory sticks with me, and it is included in places where I wish not to return. There are times when the best life has to offer, includes getting caught-up in situations, where heavy hands could temporarily control an individual's lifestyle. I'm so happy that I was able to allow the music that means so much to me, become part of my everyday life.

Bill H.
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bill Hankey on 21 August 2003 at 10:56 PM.]</p></FONT>

It's a balancing act.

You start with DESIRE.

You set GOALS.

You practice to develope ABILITIES.

The trick is to not set your goals too high! You must set realistic and acheivable goals that can be met. With regular practice your abilities will improve. Your desire will then strengthen and then you UPGRADE your goals and continue with practice...practice...practice.

Easier said than done!

Take small steps at first or your goals will be too big, unachievable, and frustration will set in and your desire and practice will suffer.

Balance.

It's basically how I try to live my life...

...OK, I'm getting way too phylispholosfical here...but, wait...it's a Hankey post! It's OK!


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Terry Edwards
Fessy D-10; Nash 1000
Martin D-21; Flatiron F-5

I don’t think it is so much a question of ability as it is the way a person approaches an instrument. In all my years of playing guitar I’ve noticed that a player’s touch (i.e. the amount of emotion or feeling in one’s playing) matters a whole lot more than the amount of notes or tricks in a solo. I’ve heard players who are complex in their approach (they can play all over the place) yet they really have nothing to say (i.e. it doesn’t move me in any way).

I’ve found that in the world of rock guitar, for every one person that can actually play there are nine that think they can play. That’s why guitarists are a dime a dozen.

As for steel players, I believe that the best players are those who keep things fairly simple and know where to put the steel into the song. Just like any other instrument, steel can set a mood for a song.

My desire has always been to make good music. My ability is quite limited, but if I can put only three notes in just the right place and play them with feeling, then I think I’m doing something right.

To put it simple, some people choose to play music at some point or another in their lifetime. Then,....... there are those where MUSIC CHOOSES THEM! At that point, there is no escape. You MUST play!! The creative level is beyond the comprehension of any record executive!! I think Ernest Tubb said it right to begin with.

"WHY DON'T YOU LEAVE THEM BOY'S ALONE AND LET THEM PLAY THEIR SONG"!!!!!!!!!!!

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Mullen D-10 royal
Nashville 1000
Tele plus, Martin HD-28
65 Fender Twin

"Pick one for Jesus"

Terry E.,

The systematic approach to making advancements on the steel guitar cannot be trifled with, in a theoretical sense. The values of a system, that intensifies or modifies accordingly, with the will of the individual, would indeed become fruitful in short order. It is true that quality practice sessions spell out rather quickly, whether or not the would-be achiever is destined to reach the levels or goals, sought after. Luckily, students of this day and age, are made aware of all the advantages offered, by following instructions, through courses made available.

Bill H.

Great thread! I have a theory of why some progress higher than others musically. My wife took alot of psychology classes in college, and I'm afraid used me for "homework." They break things down into "right" and "left" brain activities. The left being more mechanical, and the right being creative and artistic. My theory is some people have learned how to get into the "right brain mode" of thinking when playing, or any endeavor that creativity is a part of. It does seem to me that the younger someone is when they start playing, the more they can get into this pattern of thinking. My own experiments? Close your eyes and play. Practice this way. Don't worry about being exactly on the fret marker. Your ears will tell you where to be. I'm always surprised at the emotion in me when I do this. Ever sit down to your guitar and lose all track of time, then realize three hours have passed? Then you've entered that mode. When you get there you're not trying to make things happen, they just happen.

I may have a very confused analysis of how the mind really works. Maybe someone else can jump in here with more knowledge than I.<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Randy Beavers on 22 August 2003 at 03:52 PM.]</p></FONT>

Randy B.,

You caught me off guard with the newly suggested approach to advanced methodology, relating to learning processes, relative to the steel guitar. It's a very interesting concept, that undoubtedly has merit, when all things are taken into consideration. Not the least of all, the level of playing you have achieved. With that in mind, one would be rather reluctant to attempt to disprove the notion. I for one know better, than to disbelieve your observations. Another method is to play blindfolded, and test for memory recall on starting pitches. A peek now and then, will reveal your own accuracy, and recall, by checking to see if the bar is centered over the fret. Drifting away from the one chord, will reveal how well pitch memory is involved in the music that you play.

Bill H. <FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bill Hankey on 23 August 2003 at 05:13 AM.]</p></FONT>

Bill, my thoughts for closing my eyes when playing are to try to get myself into another frame of mind. One that is less mechanical, but with more feeling. It's hard to get too mechanical when you can't see. Try this with a song you know well. Listen to the difference in emotion in your performance. With me, I find several different nuances in my phrasing that I hadn't thought of before. I've had it change my whole approach to the "mood" of a song. You can also "visualize" a mood. Music videos prove this. The saying, "a picture is worth a thousand words" is true for music as well, the only difference is the song is our "canvas." You can imagine moods that range from a carnival carousel, to Edward G. Robinson on a bridge on a foggy night.

In keeping with the subject matter of this thread, I would like to point out, that much more progress is realized, whenever a serious approach to advancement on the steel guitar is noted. There have been instances where the special demands are not met, and the steel is packed away for "better days". Even as I write, there must be thousands of musical instruments, including steel guitars, packed away for a "rainy day". It is from that group of would-be musicians, that important lessons can be learned. You may soon realize, that unlike the progressive musician, who pays his "dues" through a routine of dedicated practice sessions, the chance musician, will "grab" you during gig breaks, to talk steel guitar. It is only the humor connected with those behavioral traits, that one may find amusing.
Usually, the group is steadfast by association, and woefully remiss at regular practicing. The point I'm making is rather clear. Seek, and you will find, by developing a broader range of interest in the steel guitar.

Bill H.

I noticed a while back that Buddy does not lick his fingers. There was a time tho when one of his fingers would keep an "eye" on it.

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@^@

Listening to a professional performer it becomes obvious very quickly that they have certain "skills" under control. This was not aquired as a gift but are the product of hours of work and practice. I don't think there is any one way to achieve this. It adds up to everything you are willing to do to achieve improvement. I respect so many of your thoughts and ideas here. It helps me think about what I am doing as well. I have a quote out of a book that says "You practice for hours until you finally get it together, then everybody says, Oh, he's a natural. You smile, you know."

Randy B.,

So many times, even the most accomplished musicians, (steel guitarists), find themselves reveling in something that fascinates beyond everyday life. Certainly, your thought provoking method of closing the eyes, would qualify, particularly when you found that creativity accelerates measurably, and far beyond the norm. They say, let the good times roll, I say, let the little bell ring. It is so easy to reduce the little bell's sweet ringing, to a dull thud, by placing it in the palm of the hand. Many complex versions of advanced perceptions, are perceived from much lesser practices, as silencing the tiny bell. It is the contrast that jogs the mind of the imaginative individual. Your suggested practice is a tall order, but a welcome addition to my agenda.

Bill H.



<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bill Hankey on 23 August 2003 at 05:55 PM.]</p></FONT><FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bill Hankey on 24 August 2003 at 03:51 PM.]</p></FONT>

Bill,
The "Peter Princible" states that just about every one Can aquire a level of Incompetance"..I guess that's where I'm at! I still have the Desire...but maybee I have achieved the level of disibline and ability to improve or reach a higher Platau. In clear english......I think that I got infront of that Buck that Buddy was chasing!!!
Bob Hayes...originally from Pitt Street!

W. F. Yep, an overnight success..

A lot of it happens at the subconcious level to be sure.

Stories of Mr Emmons practicing harmonics for hours are a good point, as well as my witness of BC doing the same thing with the "simplest" of phrases or runs.

I think there is a good deal of "practicing" that is purely physical.

I worked on harmonic sweeps, this week early, at the 12 7 and 5, as they suffer the most in "combat situations". After a couple hours worth of work "in the basement" I didn't notice as much improvement as I did a couple days later on the bandstand.

It certainly a glimpse inside "how the mind works" for sure.

We that play a lot on live situations seem to find that "time" gets compressed somewhat, and the things we think about outside of live situations can be called up a lot faster than one thinks while playing.

Steel players I think seem to do this more than other instruments in my experience, and unless completely worn out or after drinking too much, at the end of the night, WE are probably the most "on top" of mental situations.

Try This:

It's 2:00 AM after closing on a gig night.

Get a knife. Pocket knives work only if they have a locking blade. I use a locking leatherman (tm).

Find a table with a wood top in the club. Wood chairs work too.

Grab a guitar player, Bass player or a drummer.

1. Sitting opposite each other, begin by putting your hand out, fingers spread, flat on the table.

2. "Start" by making the rounds starting on the outside of the thumb or pinky, and "tap" the point of the knife between each digit, with the free hand, going back and forth after completing the whole trip.

3. The "Opposing" player is to call "Stop" at any point he/she wishes.

4. At that point, you must stick the knife in the table or chair at the next point of contact. ( linoleum or formica doesn't work too well because of the force required) The knife hand must be removed to show the completion of a turn, and the knife must not fall over.

5. Then it is "their turn".

"Winners" can be decided by default, 2/3, 3/5, etc.

6. This can be a multi-player skills test, rotating turns either direction.

You'll be amazed at how often you win as opposed to the "other instruments".

So will they.

As your reputatation spreads, IF you prevail, you will find that it is harder to find participants however..

Maybe somebody can feature this test at a booth at the ISGC, which I will sadly miss due to jobs.

Let me know how it goes.



EJL

Retcop88,

Randy has offered a new method, for one to improve in the art of playing pedal steel guitar. Because it is an original concept, it arouses much curiosity. Dampening the little bell is a reversal of the creativity that is so obvious in Randy's reply. Dreams that begin with the least amount of significance, have been known to blossom into a broad spectrum of unrelated events.

Bill H.

W.Franco,

Thanks for the kind words. Doesn't the steel guitar remind you of a client in real estate, who balks, and then temps you to try a little harder to make the sale? Only this time, the balky characterics exists in the minds of those, who may feel as though, tomorrow is another day, and practicing on the steel guitar can fall to the bottom, in the listing of priorities. If a buyer of a product you're selling, is listening, continue negotiating. If a given player is in the early stages of learning, and is adaptable to the steel guitar, a steady return to practice, will, not only, lift the subject from the ranges of novices, but may very well free the player, from the clutches of mediocrity.

Bill H.

I truly feel the pedal steel guitar is the most expressive insturment there is. You use both hands, both feet, and both knees to play it. The variables in expression are almost infinite. How hard you pick the strings, where you pick them. Do you slide the bar into the note, from above or below, or do you hit it dead on? Do you mute the string or let it ring? Do you slur the note in with the pedals? Do you swell the volume pedal, back off of it for sensivity, or hit it hard for dynamics? All this is above and beyond just playing the right notes or chords. And each one of these things and more, come into play with every single note we play. I can't think of this many things at once. We all have to practice to learn our skills, but at some point we have to just let go and play.

Imagine a baseball player at the plate thinking, take the bat back, weight on rear foot, transfer weight to front foot, rotate the hips, roll the forearms, etc. All this with a fastball coming at him at 95mph. Sure they take batting practice and work on mechanics. But when it's game time they think, "see ball, hit ball." They let their subconscious take over. This is what they call "being in the zone."

The most expressive musicians I know of, ones that play with the most feeling, know how to just let it happen. The ideas and feelings go straight from their mind to the instrument with as few restricions as possible. They hear everything around them and just react to it. They are not mechanical about it. They don't think, "I'm going to fit this lick in here if it hair lips the ...." Our goal should be to learn how to let the abilities out that we have learned over the years.

I also feel you can restrict the flow of ideas going into your memory. Ever meet someone and 30 seconds later you can't remember their name?<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Randy Beavers on 25 August 2003 at 07:20 AM.]</p></FONT>

I am going to speak for Jerry as I know some of the details of his life which apply here. When he was a very young boy of about 11 years old a traveling Hawaiian show came to our home town in Lima, Ohio in 1931. He had a very good friend pay his way into the show as he had no money. We were from a poor family. As soon as Jerry entered the tent his attention was drawn to the gentleman playing a steel guitar and he was mesmerized by the music coming from that instrument and never took his eyes off of him the whole show. He fell into love with the instrument at that moment. From that time on he had a GREAT DESIRE to learn how to play that instrument. He had no money for a guitar or lessons for that matter but he had DESIRE. He had no knowledge at this period in his life if he had any talent to play it but he was determined his was going to learn that difficult instrument. Through various means he earned the money to buy his first guitar and you know the rest of the story. He graduated from high school during the depths of the depression and still held fast to the desire to make his living playing steel guitar. It was not an easy road. Through many hours of practice and playing every chance he got (during the depression you didn’t have much else you could do) his talent for the instrument increased through hard work and determination. I guess that could also be called desire. As he has said even today the desire and love for the instrument NEVER WASHED OFF. I believe that is what has made him what he is today. A very determined young lad who would not let all the obstacles of his early childhood deter him from his desire of being the accomplished player that he became.

Randy - right on! Use left brain achedemics/analysis during practice but engage right brain creativity and soul during performance! Playing with feeling requires feeling what you play - not thinking what you play!

Jack - Thanks for the story! Jerry continues to inspire!

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Terry Edwards
Fessy D-10; Nash 1000
Martin D-21; Flatiron F-5