Accompaniment Secrets

Pete Nicholls · From: Macon, Georgia, USA

I've been playing pedal steel now for 4.5 months and am comfortable with playing melodies/instrumentals. If you like, you can take a listen at http://soundcloud.com/petenicholls/sets/pedal-steel/
The songs are in chronological sequence from my first song to my latest song.

Now I need to know the best ways to learn accompaniment for playing behind a vocalist. I'm not very creative unfortunately, but just the more determined to do a credible job at it. Suggestions? Secrets?

Thanks in advance for any help.
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Justice The Judge SD-10, 2007
Justice Pro Lite SD-10, 2011
Quilter Steelaire
Quilter Labs Tone Block 202 Head
Roland Cube 80-XL
American Stratocaster - Yamaha Bass Guitar
1 Fender Telecaster Nashville Edition
Ham Call: N4BHB

Jim Eaton · From: Santa Susana, Ca

If their lip's are moving...........don't play!
JE:-)>
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Emmons D10PP 8/4 -75'
Emmons S-10PP 3/4 - 79'
Emmons S-12PP 3/4 -78'
MSA Legend SD12 5/5 -06'
Mullen S-12 4/5 - 1986
Nashville 112 x2 W/Knob Guards - Don't leave home with out one!
Walker SS rack system - 12"BW's
Quilter Steelaire Combo

Pete Nicholls · From: Macon, Georgia, USA

I already know that part, it's the "playing part" that I'm asking about!
_________________
Justice The Judge SD-10, 2007
Justice Pro Lite SD-10, 2011
Quilter Steelaire
Quilter Labs Tone Block 202 Head
Roland Cube 80-XL
American Stratocaster - Yamaha Bass Guitar
1 Fender Telecaster Nashville Edition
Ham Call: N4BHB

Jim Hollingsworth · From: Way out West

Hi Pete,
I try to work a "call & response" approach - play between their lines. Or just pad chords quietly in the background until the solo shows up. Sometimes on faster tunes I'll play rhythmic "tic tac" parts on the lower strings. But I ALWAYS try to stay out of the way.

Jeff Newman (Jeffran College) has some great courses on backing up singers.

Jim

Pete Nicholls · From: Macon, Georgia, USA

Clyde Mattocks · From: Kinston, North Carolina, USA

Learn some of the backup licks off reordings that Emmons, Hughey, Green, and the masters are playing on, more or less just to see how they fit with the vocals. As you incorporate these into your playing, you will gradually absorb a feel for how to enter and exit behind a singer. It won't happen overnight, but the light will come on at some point. You ARE probably "more creative" than you realize.
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LeGrande II, Nash. 112, Fender Twin Tone Master, Session 400, Harlow Dobro, R.Q.Jones Dobro

Herb Steiner · From: Briarcliff TX 78669, pop. 2,064

Pete
Look at it as though you were having a conversation with the vocalist.

When having a conversation with someone speaking, in pauses we usually say a short phrase to acknowledge that we're listening and understanding, such as "I see," "uh-huh, sure," "okay," "right, I know," or some such statement. Letting the speaker know we're with him. Then when it's your turn to speak, you comment on what was just said.

Musically, I look at backup the same way. Short 3-5 note phrases that are space fillers. When it comes time to play a solo, that's the time to make a statement that (hopefully) is complementary to what the story of the song is about. IOW, a ballad song should have a ballad type solo; don't play the solo to "Sunshine of Your Love" when the singer is singing "Help Me Make It Through the Night." Wink

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My rig: Infinity and Telonics.

Son, we live in a world with walls, and those walls have to be guarded by men with steel guitars. Who's gonna do it? You? You, Lt. Weinberg?

Ray Anderson · From: Jenkins, Kentucky USA

There is a Newman course called Bandstand Back up in which he teaches chord pockets for back up and fills. It is well worth the money. One of my greatest learning tools. Very Happy

Jim Cohen · From: Philadelphia, PA

Lane Gray · From: Topeka, KS

Pete, you don't need to be "very creative" to be good. You don't have much time to add your comment (I look at it just like Herb does), so it's gonna be short. If you listen to the modern/current records, even Paul F and Mike J still use pretty much the same licks that Buddy, Jimmy and Lloyd played, but with a little variation on the theme.
Don't worry if you're using the same licks over again, so does everyone else. There's only been 7 country songs ever written, they just rewrite the words...
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

Dustin Rigsby · From: Parts Unknown, Ohio

Pete Nicholls · From: Macon, Georgia, USA

Thanks for all your comments, I think my plan of attack is to take some of the classics and run them through a vocal suppressor so I can focus on what the steel is doing. Thanks again!
_________________
Justice The Judge SD-10, 2007
Justice Pro Lite SD-10, 2011
Quilter Steelaire
Quilter Labs Tone Block 202 Head
Roland Cube 80-XL
American Stratocaster - Yamaha Bass Guitar
1 Fender Telecaster Nashville Edition
Ham Call: N4BHB

Don Drummer · From: West Virginia, USA

Herb Steiner's example says it all.

Roger Kelly · From: Bristol,Tennessee

Pete, here is just one example of how you back up a singer. This should give you some insight on how to play around the melody while moving in and out with the singer. Hope this helps.
http://www.youtube.com/watch?v=DC9RijH9E5M

Bud Angelotti · From: Larryville, NJ, USA

Great advice so far! May I add this - Listen to the singer.
I mean really listen to the singer. You don't have to play. Can you hear the words? What story is the singer trying to tell? Compliment the story.
Less is more.
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Just 'cause I look stupid, don't mean I'm not.

Donny Hinson · From: Glen Burnie, Md. U.S.A.

IMHO, you'll never learn good backup playing listening to mainstream stuff that's been done in the last 20 years, there's just not enough steel "backup" there to grab onto. For stuff that's recently recorded, listen to stuff by the Time Jumpers, Jake Hooker, Dawn Sears, Bobby Flores, Justin Trevino, Curtiss Potter, and Amber Digby. With any of these, the steel will be up-front and prominently featured, so you won't have to strain to hear what they're doing. In the older stuff, listen to stuff done back in the '60s by Buck Owens, Kitty Wells, Connie Smith, Loretta Lynn, Ray Price, and especially Ernest Tubb. Ernest wasn't the greatest singer, but he always showcased his band, and never was afraid of them upstaging him...he knew his band was a big part of his draw. His couple of years with Emmons playing, and the ten years following with Buddy Charleton, are the essence of classic country pedal steel work. There's also some good stuff on Haggard and Paycheck records, but it's hit or miss as to the steel being prominently featured.

Robert Daniels · From: Chicago, Illinois, USA

IMHO, as a beginning steeler, but long time 6 stringer, the last thing you want to do is de-emphasize the vocalist on a track to play along with. To me, you need to be hyper-focused on what he/she is doing. That will tell you what to play and not step on them.

Again, IMHO...
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