The Steel Guitar Forum

And after you've played it to death on strings 567 you can go to 678 with B pedal down and do likewise with the lever that raises 7th string to G.

And then on C6 with 345 and the raise from A to Bb.

And even if none of these knee levers are there there's no reason for not being able to do the lick with just bar movement.

With the greatest possible respect to Weldon and Hal (who are two of my heroes), that lick was Weldon's take on some of the things that Paul Franklin was playing and blowing people's minds with in Nashville at that time. Nothing wrong with that, that's what the scene was about (trading ideas), but that style was definitely Paul's before being taken up by other Nashville players at the time.

I remember showing Bruce Bouton a variation of that lick in my apartment in LA years before that course was published (I had learned it from Paul years before that).

Thanks Tom Quinn, Tony Prior, and every one else. I cannot do the 2 finger three string lick. I can do the three finger two string lick but only after my three finger Crown Royal double crossover tip up. I 'll get it if my C.R. holds out. Love you all Ray

Start it again. This is great.
Chuck

Chuck: I didn't know you could get Crown Royal in Houston County !! Maybe at the Class 6 on base...

Regards, Paul

Tom. I too have the Amazing Speed Picking tape right here in Roseville. If you want me to make a copy you can come on over and pick it up. Did you ever get up with those George Strait guys?

I did and thanks for the offer. Here's the deal: two practices a week in Granite Bay = 50 miles round trip. No $$$ gigs lined up as yet and no harmony singers. The want to be a George Strait tribute band. Not for me on all counts... :- )

I do love George's music though, just not all night.

I listening to a lot of recording with this 3 string 1 pedal (3S1P) thing used very subtly but a whole lot. This may be just because I made the connection and not a deliberate attempt by the PSG players.
I have transcribed a lot of them and most of what I hear and have transcribed falls into this modification of the 3S1P. Players seem to stick within the up and down positions to play single line scales and use the 3S1P as a path in between. The same applies to the minor and the dom.7th scales where the 3S1P is used.
The minor is the same path as the major except the major path is played as an A major and the A minor is played as though you were in G major. Also the A7 is played as though it were in D major.
The thing is not to let this confuse you, just think of the 3S1P as being in two paths, a short path which is the same in the all 3 modes and a long path which is the same in the all 3 modes.
Just try and forget about all the theory and just look at the simplicity of the whole thing.
Remember that the positions are not necessarily where you would play the chord but rather where you can speed pick with the best use of the pedals.
Your choice of progression or pattern within the path is strictly up to you.

You're right, Stuart. I often use this pattern as a Mixolydian mode, but I think of it as... playing the D major scale over the A7 chord. So I play the speed pattern in D when the band plays A7. It works great, and it's saved my butt in the studio a couple of times. One time in particular... the song was in the key of C, mostly a C7 chord, very fast tempo with chord changes relative to C. I played the pattern in F (C Mixolydian... C major scale with a flatted 7th) and it worked like a charm. Made me sound like I knew what I was doing! Works nice for minor keys too... play 3 frets above the major.

Thanks for the post Stuart! Looks way cool... :- )

I'm putting out a course on my Amazing Middle Finger Jack Daniels lick this year.

Oh Kevin, Kevin, Kevin... -LLL-

Tq

Paul

Ain't that the 'liker' with the picture of the 4 roses on it?

Chuck

ps You know you could teach me how to play this thang. lol

Hey Kevin. Is your course gonna be one of those pricey, week long, mountain top retreat, workshop camps?

This is one of the best discussions I've seen in a while. Lots of free thinking going on. I've actually cut and pasted bits and pieces of several posts and compiled them into a word doc to keep as reference material. Thanks to EVERYONE for the input to this topic. Lots of great ideas.

IMHO this thread is worth resurrecting because there is an abundance of valuable info for newbies and the experienced players. And of course, it may bring out some new information.

Best regards

So here is a track we just completed , now I'm
not saying I've got this thing down to perfection by any stretch but the fact of the matter is my "turns" and half the solo are a direct descendant of the Hal and Weldon ditty. Bits and pieces, elements and the theory of whats going on which is really #1...Where am I ,where am I going and then, how do I get there.

https://www.reverbnation.com/tonyprior/ ... ntry-music

Chuck Hall wrote:Start it again. This is great.
Chuck

I agree, glad you brought it up again, Marty, a good discussin.

But I couldn't find the song link, Tony--wait, there it is, after I began posting (link could be fixed? Worth hearing, a favorite song of mine.)
Nice ride.

This lick would go good with my other two if I only knew what it was.

It's great for practicing pick blocking with thumb and first finger. It builds speed. Also, it gets you into understanding the melodic uses of the 7th string.

As for actually using it in songs, it sounds sort of weird unless you have a lot of similar runs in your repertoire of hot licks.

Stuart Legg wrote:I have transcribed a lot of them and most of what I hear and have transcribed falls into this modification of the 3S1P.

Stuart, these charts are very helpful - thanks for posting them.

In using the pattern for the two major modes, I've often found that lowering the 5th string a half step works well at the position you show on fret 15, instead of using the notes available on the 14th fret.

I hadn't thought of using this pattern for minor harmony - will be interesting to try.

now try this!

https://www.youtube.com/watch?v=aP2iZr20NY4

Is this lick kind of like the intro to ooh las vegas by gram parsons (flying burrito bros_?

Tony. Love the speed picking for hacks. Def not notes for notes sake

Technical questions for you guys.
Do you keep the thumb exclusively on the 7th string throughout, or jump the thumb over to string 6 for those measure 3 parts?
And for those who consider themselves palm blockers, do you keep your hand in the same Newman approved position while doing these pick block licks, or move it to a pick blocking position?
Bruce Bouton's Hwy 40 variation on this is in 3 very musical phrases with a little air between them. I find my thumb goes to string 6 in the second phrase and stays there.
Thanks Tony and everyone for the explanations and video.
John