The Steel Guitar Forum

What would you say is the best way to learn how to play the pedal steel?
Not just learning song with tabs but really learning the instrument , learning the road maps the how s and whys of the instrument. I have played regular guitar for many years and I can play just about anything I want on it all self taught , being a older beginner at the pedal steel I feel I need some help, any ideas out there? I have tabs etc etc but they don't tell me what im doing and why .

I think the best way is to have a teacher who understands the whys of playing PSG and can communicate it clearly with you during lessons. That way you can learn how to play something and why it works (musically) in tandem at the same time. That's better than learning either one in isolation, IMHO.

As someone who needs to understand "why" in order to do "how", I made a chart when I first got my pedal steel that mapped the copedent to the scale degrees, and then built various chords from that. It doesn't sound too deep, but the exercise really helped me understand the role of each string in constructing a given chord or inversion. I'd be happy to share my chart if you're interested, though it's probably better to do it yourself (seeing mine won't hurt you any because I'm a lefty and my copedent looks funny).

Mickey Adams has a great series of videos on youtube that cover aspects of pedal steel playing from a theory perspective also.

Finally, your favorite players are great teachers when you learn their solos - I've found that combining this with the chart makes the "why" obvious in many cases.

I'd suggest either Mike Perlowin's theory course or Dave Van Allen's. Then also learning stuff from tab, referring often to the theory to see what's happening.

Practice, practice, practice. I've been at it a year. I am just now getting to where I feel comfortable sitting at the instrument, having adjusted seat height, position, guitar, etc. I can now play some songs. Sometimes I sound horrible.

Here are some things to help get you going...
http://www.b0b.com/infoedu/e9theory.htm

http://www.jmlmusic.ca/leitepsg/Pedal%2 ... DRAFT5.pdf

Also, ask Patricia Warnock for a copy of her E9 chord chart. A must have for reference.
http://bb.steelguitarforum.com/viewtopic.php?t=147199

Good luck. STUDY HARD!

I'd love to see your chart, as I'm a lefty too. Thanks

John Sadler wrote:I'd be happy to share my chart if you're interested, though it's probably better to do it yourself (seeing mine won't hurt you any because I'm a lefty and my copedent looks funny).

Check out William Litaker's site listed in the lessons section of the Forum. I've found them very rewarding.

George

my answer - learn what the A & B pedals can do.
sounds simple..
if you can play 'just about anything you want' on guitar, then the issue now is you must develop a "steelers ear' - which has to be done with A LOT of listening to steel players - buy a box set of late 50's-60's Ernest Tubb or Ray Price, for example and just start there...and get those sounds in your head before you go on.
i know beginners need TAB cause they have Zero to go on (i did too), but i think its a long term crutch that will end up hurting you

A little story for example; when i took my first steel lesson, i had a list/CD of all the "hot" rides i wanted to learn that i took to my teacher - as we started to go thru them, it occurred to me we had done everything on the list with 3 pedals & 1 knee...but what about all these other knee levers i just paid a lot of money for?? (i had just sold my 3/1 student Marlen S-10 for a loaded ShoBud...) i really assumed i couldnt play those rides on my student model because i didnt have enough knee levers and that just proved my ears couldnt comprehend what was going on with even basic moves.

I've been at it for four years, and I'm just now get starting to sound like a pedal steel player. It takes practice, practice, practice. And like Scott, Sometimes I sound awful.

Jeffrey -
It looks like this BB will not allow me to attach a file, so please email me and I will send it by return email…

Jeffrey Moore wrote:I'd love to see your chart, as I'm a lefty too. Thanks

OK - maybe I can attach a pic...


Email me and I'll send you the full res version...

There are at least 3 ways (pedal and knee lever combinations) to play harmonized scales on the e9th neck. I bet there are more than that. Practicing these has really helped me learn my way around the neck and the different ways to play the same chord in different locations. I can look at a chord chart and with a little work come up with something that sounds half way decent. Ditto what everyone has said about learning theory and mapping out your own tablature of what you learn.No matter how bad it sounds at first keep playing, I'm amazed how much better I sound after an hour and a half of practice.

Don Griffiths wrote:There are at least 3 ways (pedal and knee lever combinations) to play harmonized scales on the e9th neck. I bet there are more than that.

I'd concentrate on what you can do with the A, B and C pedals (and perhaps the E lower). Allow me to paraphrase a guy who never, AFAIK, played a steel guitar.

Bruce Lee wrote:I don't admire the player who knows 10,000 scales, I admire the player who's practiced one scale 10,000 times

Do you fingerpick on 6-string? If so, you have a huge leg up on other beginners.
My instructor heard me fingerpicking Doc ands Merle stuff, and tailored his lessons to my strengths. I was gigging in three weeks, as he related everything to my knowledge of 6-string. When the connections were made, it was easy!

You must learn harmony and interval theory. Then years of practice to develop technique. In my experience the vast majority who take up the instrument will never learn and give up in frustration. I have seen the pedal steel make total fools out of advance Telecaster players who gave up after a year. Most people either don't have the ability or will not devote the years of practice that it takes to develop technique. Good teachers are rare. Cumulative knowledge is a must.

John, those Doc and Merle records are some of the finest recordings made.

I have found in my life that if you want something bad enough you ll find a way of getting it and passion for music has been there every since I was a very young child , it was the guitar that struck me like lightning , hearing chet and the ventures on the radio and seeing my dad playing guitar in church when I was a kid, HEY I want to do that and I did learn very well . I have found that music is all the same on every instrument no matter what it is , its all the same , scales melody lines chords , patterns runs licks etc etc. What I have here now is the pedal steel and learning to play it and play it well I need to learn the scales chords patterns and so on and so on , the nuances of the instrument will come with time and practice . When I learn to play it well Ill post a song or two on sound cloud and I want to thank you who made comments thank you very much . Russ

I like Kevin's view. He knows.
It filters through his life philosophy and work.

It is my approach too.



I am surprised top learn that guitar players struggle to master the pedal steel.
It helped me.

I'm a finger picker and I don't know if it helps or not with steel. If so, it's only for Chet pickin' on C6.

Play scales, make up songs, play songs you know, and try to not get in a rut with the same moves and pedals/levers. Lots of seat time, and try to find people to play with you.

HAVE FUN!

Jan, if one approaches all of music from the standpoint of harmony and intervals, like Kevin suggests, then the steel is almost reflexive.
But there are other ways to approach musical thinking, and they don't lend themselves as well to steelthought.
I'm not really phrasing it well, but only if one's temperament and personality lie in the right direction can one really succeed on a specific instrument. I tried playing my brother's clarinet and never could wrap my head around one note at a time with no readily apparent harmonic relation.
These mechanical contraptions are amazingly simple and straightforward to wring music out of, once you get the hang of bars, picks and using yer legs.

" If so, it's only for Chet pickin' on C6. "

Bill! I sure can't agree with that. My right hand fell right into it on E9th. My instructor saw it as a big advantage too. I'd been fingerpicking banjo and 6-string for over a dozen years before I started steel. Sure, I had to learn new grips, and adapt a bit, but it was no big deal.

Hi Lane,

I agree with you too, in that temperament and personality have lot to do with this stomping machine.

I wrote awhile ago about certain personalities running up and down the stage cuddling their wooden babies against their chests, while others are pounding their big round pipes covered with fake skin.

The pedal steeler sits comfortably at his playing bench having an exclusive dinner using his hands, feet and knees.
He calmly assesses the situation using his musical skills to enhance the singer and the rest of the band.

I rest my case. Enjoy!

Picking and blocking technique is often the big problem at a beginning stage. Half the problem is not understanding that every player has a unique approach that fits them ergonomically...the other half of the problem is everybody saying your personalized approach is wrong...haha

Explore the options and you will get closer to what works with your hands, and then adapt it to make it your own.

Apart from that, learn your open string tuning at least three different ways...from the point of view of a one, four, and five chord. Then push the a+b pedals, realize that you've just altered your tuning, and learn the tones from the view of a one, four and five chord.

That's enough for year one...haha...and remember this as a benchmark for your progress: it takes two years of practise to sound awful...assuming you're practicing within the confines of a regular job and a family.

If I were a teacher, I'd stay away from tab as 'regular instruction'..that's probably a controversial opinion, because tab does have the benefit of getting you playing 'something' quickly, even tho you may have no understanding as to what you are really playing from a music theory viewpoint, so it is of limited usefulness in the long term. It does build some muscle memory and has incidental ear training components. It mostly has an an advantage of showing how to execute complex phrases, beyond that, its like trying to become a great painter using a paint-by-numbers kits as a teacher.

If you are familiar with scored music, I'd suggest using that, or simply playing from your ear...after all, as musicians we mostly want to get to a point where we automatically know what to do when we have a phrase we need to execute.

If you get frustrated beyond your worst expectations, don't be afraid to take a break until your brain puts things in place. This instrument is about enjoying the journey, so relax and take it as it comes.

The biggest chore is finding out what you don't know and then getting your ego to accept it.

John,

You could be right, it may have helped, maybe even more than I realize. I found six string finger pickin' to be harder though. It took what seemed like forever to get my thumb worked out, then it happens without thinking. Same way with the steel, it takes a while, but if you stay focused things just start to come together.

I know the six string taught me to listen, and that really is a big thing. Learning to hear the little things.

If it isn't in your head, it won't come out your fingers!

I remember in the beginning with steel, I constantly worried about whether to play chords, or single notes. In time I didn't think about it, I played what I heard in my head.