The Bar Hand Exercise
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- David Mason
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Holy cow! At the risk of being a doof, I'd add a bit(s) that I stole off a Carl Flesch violin book first for guitar, then steel.
These represent scale tones:
1-2-1-3-1-4-1-5-1-6-1-7-1-8-1-9 ... and back down. (8's the octave & the 9 makes it count out in 4's). Then:
8-7-8-6-8-5-8-4-8-3-8-2-8-1 ... (add something to make it count out).
Major, minor, symmetric, whole-tone, double harmonic minor scales are fun, all keys, you start on single strings only. Fix 'em to count in 4's till you get bored. After a while you can start on the third, etc. - (modes....); and move towards multi-string arpeggios.
I'd only dare add it because it's so similar, and it's so-oo easy.... to think about. The first thing I noticed when I bought a bunch of steel records was how hard most steelers try to avoid moving the bar. Baffling, to me.
These represent scale tones:
1-2-1-3-1-4-1-5-1-6-1-7-1-8-1-9 ... and back down. (8's the octave & the 9 makes it count out in 4's). Then:
8-7-8-6-8-5-8-4-8-3-8-2-8-1 ... (add something to make it count out).
Major, minor, symmetric, whole-tone, double harmonic minor scales are fun, all keys, you start on single strings only. Fix 'em to count in 4's till you get bored. After a while you can start on the third, etc. - (modes....); and move towards multi-string arpeggios.
I'd only dare add it because it's so similar, and it's so-oo easy.... to think about. The first thing I noticed when I bought a bunch of steel records was how hard most steelers try to avoid moving the bar. Baffling, to me.
woah, hold the phone! are we supposed to be lifting the bar off the strings between each of these movements ?? we are not touching strings when moving the bar?!Dean Parks wrote:What this exercise has done for me is this: at every fret change I go right to it and play... no "setting" the bar before picking, or sliding up to the note (unless I want to of course). "Real" steel players can do that ... play it almost as a keyboard instrument when they want. That's one thing that separates steel players from slide players, to me.
Ben,
No lifting the bar....I don't believe Dean was suggesting that.........If there is an unwanted sliding sound connecting the notes from each fret position, the right hand is the problem.....There are several methods for muting strings with the picking hand......Palm blocking and Pick blocking are the most widely used techniques..I strongly discourage bar lifting as a method for muting strings......Paul
No lifting the bar....I don't believe Dean was suggesting that.........If there is an unwanted sliding sound connecting the notes from each fret position, the right hand is the problem.....There are several methods for muting strings with the picking hand......Palm blocking and Pick blocking are the most widely used techniques..I strongly discourage bar lifting as a method for muting strings......Paul
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- Sonny Jenkins
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- Sonny Jenkins
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- Dave Ristrim
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If I remember correctly from the pick blocking exercise tape, you should only hear each note separately without a slid note between them, or overlap from the previous note hit. In other words using strings 7 and 6 you would hear a F# then a G#. After moving the bar two frets you would hear only a G# an A# etc. If you hear overlapping notes or a slide during the bar move, slow down until you can do it cleanly then speed it up, and only then.
I hope I explained this correctly.
I hope I explained this correctly.
- Walter Bowden
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Since I need to learn good basics I too am practicing this exercise nightly if I can. I'm using the E7drone and my trusty old wind up wooden metronome.Thank you so much Paul for this skill builder exercise.
A question for those who are doing this too. Paul recommends using a metronome for timing and starting slow and moving up gradually to quicker tempos. I am comfortable using metronomes for skill practice but I am curious as to how many BPM's you guys are winding up on when proficient and "in the zone"?
A question for those who are doing this too. Paul recommends using a metronome for timing and starting slow and moving up gradually to quicker tempos. I am comfortable using metronomes for skill practice but I am curious as to how many BPM's you guys are winding up on when proficient and "in the zone"?
Emmons S10, p/p, Nashville 112, Zion 50 tele style guitar, Gibson LP Classic w/Vox AC30, Fender Deluxe De Ville and a Rawdon-Hall classical
Thanks, Paul!
This sort of technique is one example of how you have moved beyond the 'pedal steel lick' style to defining your own universe of playing.
This kind of reminds me of an excersize that I have used where I get students to play an entire melody (e.g. "just a closer walk with thee") on a single string.
This sort of technique is one example of how you have moved beyond the 'pedal steel lick' style to defining your own universe of playing.
This kind of reminds me of an excersize that I have used where I get students to play an entire melody (e.g. "just a closer walk with thee") on a single string.
- Adair Torres
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Hi Sonny Jenkins...Sonny Jenkins wrote:Would it be possible for someone,,,(hopefully Paul himself) to include an audio clip as to how this is supposed to sound?
You can see and hear it on Steve Palousek Course. I don't remember wich one, #140 or #150. Both by Emmons Guitar CO. (VHS format).
Adair Torres - Boss at TowerS Steel Guitars
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Emmons SD10 3X8 Black 1994.
Derby D10 8X8 Rosewood 2008.
TowerS SD10 3X5 Imbuia Mica Finish 2018
you have students?Dan Tyack wrote:
This kind of reminds me of an excersize that I have used where I get students to play an entire melody (e.g. "just a closer walk with thee") on a single string.
I am jealous of them.
Chuck Campbell does this on his dvd and it was one of the best things I got from that dvd. Its been a couple years, I need to revisit that dvd and see if theres stuff I am capable of understanding now, that i wasnt as a stone cold beginner when I first got the dvd.
- Jerry Kline
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Thanks!
Thank you Paul.
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- Bob Hoffnar
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I modified my drone CDs to suit Paul's excersize.
http://bb.steelguitarforum.com/viewtopi ... 52#1554152
http://bb.steelguitarforum.com/viewtopi ... 52#1554152
Bob
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Thanks Paul,
I'm going to try this out in a bit.
You mentioned blocking here,, I'm mostly a pick blocker, but I noticed not too long ago that on certain occasions(usually when moving down the strings) I'll block with the index or middle finger but not the pick, just the little area of finger between the nail and end of the pick. Wondering if you or any others do this sometimes,
p.s. where could one obtain a PF instructional course? I've never seen one available, thanks
I'm going to try this out in a bit.
You mentioned blocking here,, I'm mostly a pick blocker, but I noticed not too long ago that on certain occasions(usually when moving down the strings) I'll block with the index or middle finger but not the pick, just the little area of finger between the nail and end of the pick. Wondering if you or any others do this sometimes,
p.s. where could one obtain a PF instructional course? I've never seen one available, thanks
- Nathan Golub
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- Tony Prior
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it's maddening but for 5 or 10 min at a clip it can be tolerated . I gotta be honest, after a few repeat cycles I have to rest and I do not do this at each sit down...I know I should...
I never did an exercise like this as detailed by Paul for the Steel until I read this thread, although I find the mechanical eye to fret extremely valuable I also find that hearing the 'TONES' and SEEING where they lay is pretty much a fundamental core learning exercise. I wish I had been doing this for a couple of decades. But 5 or 10 minutes a few times a week is still forward progress, even now.
thanks Paul,
t
I never did an exercise like this as detailed by Paul for the Steel until I read this thread, although I find the mechanical eye to fret extremely valuable I also find that hearing the 'TONES' and SEEING where they lay is pretty much a fundamental core learning exercise. I wish I had been doing this for a couple of decades. But 5 or 10 minutes a few times a week is still forward progress, even now.
thanks Paul,
t
Emmons L-II , Fender Telecasters, B-Benders
Pro Tools 8 and Pro Tools 12
jobless- but not homeless- now retired 8 years
CURRENT MUSIC TRACKS AT > https://tprior2241.wixsite.com/website
Pro Tools 8 and Pro Tools 12
jobless- but not homeless- now retired 8 years
CURRENT MUSIC TRACKS AT > https://tprior2241.wixsite.com/website
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- steve takacs
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Thanks Paul
Thanks,Paul,Larry,Bob,Dave and others; funny how things "seemingly" so simple on paper, but not necessarily in practice, can have such power. stevet
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- Elton Smith
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c6th
The guitar is tuned to the chord of c,so the scale starts with the c chord.First fret c# second fret d then d# next is e and so on up the scale from starting at c.George Kovolenko wrote:Great tip..... If I'm playing C6th (lap steel), would the base note be a C instead of an E?
- Ariel Lobos
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