The Steel Guitar Forum

When it comes to backing up the vocalist, do you merely insert noises, or preconceived licks or riffs, or fills that you've heard in other songs, in the blank spots of the song, or........

do you actually listen to what the vocalist is singing...or even the melody of the song........
in order to determine WHAT you're going to play at that point? If it's slightly hillbilly, do you use hillbilly fills?

Some players that I've talked with consider playing
back-up to be little more than making compatiable sounds........

How do YOU see it? What's your norm?

Anyone that's listened to JERRY BYRD down thro' the years are familiar with his technique and in many instances, one can almost make a melody out of his
back-up playing.

Ray, what I do is basically pretty simple as I play pretty basic and simple. On the intros I usually play the last line of the song. For fills I usually just "drift along" in two or three string harmony in the I chord. If the tune goes to the IV chord I'll usually do a walk up either single note or two string (sometimes 3 string) harmonies. If it goes to the V chord I'll just "walk" it back down the same way. The type of song usually is the key to the type of backup and fills I do. If it's an oldie (country) or western swing or pop feel I usually try to keep to a 6th vein and use more bar movement as if I were playing a lapsteel. Blues flavored things I'll play mostly bar movement but out of a major E type chord such as strings 3,4,5 & 6 and sometimes use the 8th string for a root, it'd be similar to what a slide guitarist would do.

As far as "noises", I do some of those at times. One of the guys I work with does "Freight Train Boogie" in which I do the old "train whistle" thing. I also do that on "Folsom Prison Blues". On "Truck Drivin' Man" after the line "I climbed back aboard my old semi" I insert a Diesel truck horn sound that Blackie Taylor in Californis showed me years ago. And also a police siren from time to time. The people seem to like that sort of thing for some reason.........Have a great one...JH in Va.

I am from the old school of music. I consider the steel guitar a backup instrument and play it as such. Though I have now retired from stage and band involvement, I still jam and, as I did when on stage, I play to blend in and enhance the sound and depth of the band band; which should be focusing on backing up the vocalists.

For some reason, many modern steel guitarists have adopted the notion that they are the center piece of the band and everyone should be fitting in with him or her. When a vocalist is singing, it is the bands responsibility to make the vocalist sound as good as possible. To over ride the vocalist with fancy licks and volume swells is wrong in my mind. Having one instrument blaring above the other instruments in a band, makes the entire band sound bad.

From the old school.

I think our job is to sweeten the music for the singer.I set my amp setting just slightly louder than the singer just in case I need it but I don't want to be to loud in case I get mezmorized and forget that Im floor boarding the pedal.

Way to go Les!
I like the way you think - behind the vocalist.
That sounds the best to me also.
Ron

I agree with everything that Les said. If a vocalist opens his or her mouth to sing, lead instruments including guitar, piano, fiddle, steel, etc., should BACK OFF and let the singer sing. Fills should not distract from the vocals. It's best to play in an octave/register different from the vocalist's so as not to clash or sound flat/sharp to the singer. Just my humble opinion.

Ray, my plan has always been to follow the singer, no matter where he/she goes with the melody or the arrangement, and to play in the holes and not over the vocals. Simple, if your ego doesn't get in the way. See Following the singer.

Excellent advice Cal and a piece that all beginner steel guitarists should read and memorize.

Steel guitar seems to be the only instrument where players frequently discuss playing with others!

Usually my fills are transitional from one chord to the next, and trying to jive with the main melody... Playing in context as opposed to prefabricated riffs, although the two can collide...
When some other part (vocal or instrument) steps up, I try to sit back in the mix and play something that helps them stand out.