Finished Jeff Newmans C6 beginners workshop. What next?

Quentin Hickey · From: Nova Scotia, Canada

Hi guys. After about a year and a half on the E9 neck, I decided to dive into the wonderful world of C6. I want to get in to playing jazz and Texas swing and I finished the Jeff Newman's beginner course with the 2 hour DVD. What learning material would be good to learn from proceeding this book. I hear the Buddy Emmon's course is a good one to but I need some beginner jazz theory too, would this book cover some of that?

Thanks guys.
Quentin

Lane Gray · From: Topeka, KS

I don't recall a lot of in-depth theory in the C6 Emmons course besides explaining what he's doing. I'd have to look again, since I started with the benefit of several years of piano lessons in childhood.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

Joachim Kettner · From: Germany

You may want to apply your newly learned knowledge by playing along to this tune, just for fun:
http://www.youtube.com/watch?v=WZtzUh1-vxo
I have the Jeff Newman course too, and the above includes many chords I've learnt from him.
It's in D- sharp and there's also a fine version on steel by the late Ed Black.
_________________
Fender Kingman, Sierra Crown D-10, Evans Amplifier, Soup Cube.

Mike Archer · From: church hill tn

give Jeffs c6 and swingin 1 and 2 course

that will open up some doors for ya

Mike Very Happy

_________________
Mullen g2 d-10
Quilter 112
Tele/ fender deluxe

Quentin Hickey · From: Nova Scotia, Canada

You are right Mike. I better jsut keep on with Jeff. THhats how I learned a great deal on E9th neck so I'll check into that course. Thanks guys.

Mark van Allen · From: Watkinsville, Ga. USA

The Newman courses are all great, Herby Wallace put out some great C6 material, especially his 4 song courses. The Buddy course is a must have. Like much with Emmons, there's a lot lurking just below the surface. The Steve Palousek videos will give you months of licks as well.
With most of these courses, there isn't much theory or explanation, just licks and songs. Honestly, if you take the time to tear everything apart and really figure out what's being done, you'll get immense growth out of these and most courses.
_________________
Stop by the Steel Store at: www.markvanallen.com
www.musicfarmstudio.com

David Mason · From: Cambridge, MD, USA

Honestly, I'd just pick out my four or five favorite songs and get to it. Doesn't matter if it's "Tumbling Dice" or "Beethoven's Sixth", most people really don't want to just play steel, they want to play the music they love. And it's all RIGHT THERE, and you KNOW it - damn things. You can circle around and around like a minnow not playing your music as long as you want, but that ain't how the great white sharks got big and strong, if you get my drift.

Lane Gray · From: Topeka, KS

David, maybe it's just me, but learning with direction will get you a lot farther than just going for it. With some theory, you can know WHY those sounds work together, why some others don't. And with some more, you get to figure out how to make ones that clash lean into ones that work. And with the C6th changes being asymmetrical, you almost have to think differently. At least at first.
And sharks don't need, AFAIK, to be taught to hunt.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

Pete Burak · From: Portland, OR USA

The Buddy Emmons "Swingin' Series" are great albums/courses.
The backup tracks are some of the best ones I've come across. Great fun to play along with.
If you get the orignal recodings along with the courses you will have alot to work on.
Goin' Out Swingin' - It's All in the Swing
Swingin' Our Way - Swingin' By Request
Swing & Other Things - In the Mood for Swingin'
http://www.buddyemmons.com/courses2.htm

Quentin Hickey · From: Nova Scotia, Canada

THanks for all of youre suggestions guys. Like Lane, I am kind of a theory guy. As I learn new ideas on the neck I like to know "why" becuase I can make better sense of it and I seem to remember it better. I might look into a general jazz theory book for beginners if there is such a thing along with some Emmons and Newman books.
When I was younger I was like a "blind dog in a meat house" playing electric guitar but now as I get older I realize how important music theory is. It separates players from musicians.

William Lake · From: Ontario, Canada

Quentin, if you want to learn modern harmony theory (jazz), I most highly recommend John Mehegan's Jazz Improvisation Book 1, Tonal and Rhythmic Principles.
It is basically a piano book, but I had no trouble using it for jazz guitar. In fact learning to find his examples on the guitar taught me the fingerboard more than any guitar-specific book would do. You learn best when you figure it out yourself.
He has 4 books (I think) but you only need the first one.

Edit to add....From this book you will learn everything you will ever need to know about chord substitution and connecting chords. Tons of standard reharmonized tunes. An encylopedia.
_________________
Bill

Stephen Cowell · From: Round Rock, Texas, USA

The Abersold Handbook:

http://www.jazzbooks.com/mm5/merchant.mvc?Screen=FQBK&Store_Code=JAJAZZ

This is free, and online... you have no excuse now.
_________________
Too much junk to list... always getting more.

David Mason · From: Cambridge, MD, USA

Yeah, it depends on the player. I had kind of an epiphany when I got really interested in guitar chord theory and got the videos about them from Scotty Anderson, Joe Pass, Danny Gatton, Eric Johnson and others - wanna buy some? Smile

Anyway, they'd all get to something like the venerable ii-V-I and say, "And this is what I might do".... and they all did something completely different! There was no theory there, just fingers and notes. If you can sell it...

Theory (and this goes all the way back) consists of guys with notebooks running around behind geniuses, writing stuff down and saying "What the heck we gonna call THAT?" And when Western music stagnated, it was because all the composers were taught up the same alleys, and they when they "broke free of theory" they all did it exactly the same way!

I don't think too many great players will tell you they didn't start by learning the solos of other great players (and the techniques needed to play that way). And then thinking about them themselves. If you are at the level of Parker or Gillespie, learning the ideas of Stravinsky in order to recast then into original form, great - but music that's composed as a theory book exercise usually sounds that way, and you get better at what you do with your time. JMO....

Having said that, my favorite "jazz" book is "Thinking in Jazz" by Paul F. Berliner, there's plenty of musical examples but he goes deep into the thought processes of the musicians behind them. And Mark Levine's "Jazz Theory Book" is the industry standard, as far as explaining what a bunch of smart people did when they got bored with the same ol' stuff. Lex Giel's "The Music of Miles Davis" is a surprisingly complete and concise look at that period of jazz from a theoretical sense - I'm not saying theory didn't help Miles and Coltrane, just be careful what you do with it.

Lane Gray · From: Topeka, KS

And I forget whether it was Coltrane or Bird that said something like 'learn all you can, as much as you can. Then forget that nonsense and just PLAY."

But once you've learned it, what comes out after you decide to "forget that stuff and just play" will sound better than before you learned all that stuff.

Kinda like learning more about seasonings will make your cooking better; you don't sprinkle that #9 all over everything, it only tastes good where it belongs.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

Craig Schwartz · From: McHenry IL

I`m a little slower than most players in the comprehension levels, (I dont know why)....BUT, A fellow steeler told me that he jumped off the E9 neck a little to early and started learning the C6 (which he`s now a monster at) he now wishes he would have spent more time while he was so enthused on the E9 because of its very useful sounds when goin on the bandstand or just playing out for fun with different bands,
I kinda feel cautioned by his statement, not really jumping ship on the E9, Just to be careful when moving on to other necks because they are so addictive in there sounds, Its a fact that it happened to him this way. Should it be a caution ?
_________________
SO MANY LURES, SO LITTLE TIME....

Forum Index > Pedal Steel		Next oldest topic :: Next newest topic

All times are GMT - 8 Hours	Jump to: