The Steel Guitar Forum

Posted: **8 Apr 2003 8:10 am**

There are very few methods of advancement at playing the steel guitar that equal the importance of keeping definitive notes, that pertain to song lists, and their accompanying chords. Special "licks" should become part of the memorandum; as well. I would enjoy reading comments from others who may have "lost" a special riff or lick due to the lack of recall.

Bill H. [This message was edited by Bill Hankey on 09 April 2003 at 08:10 AM.][This message was edited by Bill Hankey on 10 April 2003 at 02:57 AM.]

Posted: **9 Apr 2003 4:33 am**

Yeesh, I got a degree in English and still had to read this twice to figure out what the heck was said.

Posted: **9 Apr 2003 7:56 am**

F.M.,

I was checking this new thread a short while ago, and spotted the oversight, and inadvertent spelling the word "accompanying". The irony stands out like an arthritic thumb, because I had written about definitive notes. "Haste makes waste", and popular shows often hasten my departure from the web. I had originally believed that this thread would reveal important information on methods of progressive practice. I'm riveted to the belief that systematic sessions that truly lead to new and developmental learning, is the shortest route to better performances.

Bill H.

Posted: **9 Apr 2003 8:31 am**

I think he said it's a good idea to keep a log of licks and songs so you won't forget them.

Drew

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www.newslinkassociates.com
www.drewhoward.com

Posted: **9 Apr 2003 9:21 am**

Practice practice practice? Unless you review every lick you know every day I'm sure that some will fall through the cracks. I listened to a recording I did six months ago and for the life of me can't figure out how I played a lick on at least a couple of the songs. Even if you keep a log, you can't review it often enough (or I believe update it enough) for it to be failsafe.[This message was edited by Chris Forbes on 09 April 2003 at 10:22 AM.]

Posted: **9 Apr 2003 10:14 am**

Chris F.,

I appreciate your excellent input on matters relating to this thread. I couldn't agree more about the part where you listened to yourself playing, but had difficulty trying to repeat what you had done. One line of defense to at least reduce this is in keeping notes. I'll explain in detail in future replies.

Bill H.

Posted: **9 Apr 2003 10:46 am**

Alas, I've kept notes, just not enough of them!!!! Also maybe I'm not organized enough, I'll think I have something tabbed out somewhere, but dang, can't find it to save my life!!

Posted: **9 Apr 2003 12:30 pm**

Chris F.,

I'm pleased to learn that you are an avid steel guitarist, who has experienced the value of recall. I must say that I can relate 100% to what you have found to be true. There is one sure-fire method of overcoming hard to read notes. That of course would be in keeping a companion tape that is segmented for proper identification. I realize that what we may consider a prized "lick", is quite often hard to translate by reading notes. The companion tape will have a much better grilling effect to shake up a "lost" pattern of chords or musical notes. Many times fellow steel guitarist will visit, and offer to share a special arrangement. Have the recorder handy, and be sure to take positioning notes. Memory can play tricks when a new arrangement is shown, and you may lose important parts that will tie the "riff" together.

Bill H. [This message was edited by Bill Hankey on 09 April 2003 at 03:34 PM.][This message was edited by Bill Hankey on 09 April 2003 at 03:38 PM.]

Posted: **9 Apr 2003 2:38 pm**

282 to go....

Posted: **10 Apr 2003 6:08 am**

Steve F.,

Perhaps, I should submit a 5 string chord melody tabulation on the E9th tuning, that would introduce the 5 string grab style of playing. The favorite "Faded Love" would be excellent as a beginning to spell out the potential, of the resonating tones.

Bill H.

Posted: **11 Apr 2003 5:46 am**

My thoughts are here:
http://steelguitarforum.com/Forum5/HTML/005492.html

Posted: **11 Apr 2003 8:53 am**

Steve F.,

The noteworthy parts of any thread is where there is a very positive attitude in the quest for testing ones capabilities in the learning process. Not everyone knows their own capabilities in the study of music. It remains secretly locked away until it is put to the test. Exploring new challenges would no doubt offer many surprises, when the most "difficult" practice sessions reveal that it is possible to emulate some of the very best.

Bill H.

Posted: **11 Apr 2003 10:31 am**

Bill:

Perhaps you should hasten to admonish the unwary that detrimental isotones interceding within an obviously obtuse musical structure can be disadvantageous regarding any attempt to obliterate negative impact with reference to ingenious applications of chordal improvisations.

Posted: **11 Apr 2003 11:35 am**

Roy,

DON'T ENCOURAGE HIM!!!!!!!!!

Posted: **11 Apr 2003 12:52 pm**

Hey guys, I think Bill is trying to introduce his new invention.

I suspect it has something to do with the way we can't remember what we played; something like a new improved notation system.

The logic is right there:
First take an upright fretboard with the bar pointing at it.
Then buy a pencil and some paper.
Then attach the pencil to the bar and the paper to the fretboard.
This new invention will now record all your movements on this fretboard. Voila! Instant TAB.

It is called the BSLHS or: Better-Steelguitar-Learning-Help-System.
(No, it is not "Bobbe-Seymours-Leg-Humping-Society)

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Peter den Hartogh-Fender Artist S10-Remington U12-Hilton Volume Pedal-Gibson BR4 lapsteel-Guya "Stringmaster" Copy-MusicMan112RP-Peavy Rage158- - My Animation College in South Africa

Posted: **11 Apr 2003 2:46 pm**

Peter,

Every now and then we miscalculate whenever we make judgment calls in relation to human nature. When a person says, "I know a trick worth two of that", it may be high time to peer more intently at the subject matter, rather than entertain any such notion that the claim is pure buffoonery.

Bill H.

Posted: **11 Apr 2003 3:09 pm**

I guess if I knew any licks worth being worried about forgetting, I'd set up a cam corder and record my practice, then I wouldn't have to lose sleep worrying about forgetting what I played or the tempo or accent of notes.

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SUAS U' PHIOB
Geo

Posted: **11 Apr 2003 3:49 pm**

George M.,

The high point begins when a very progressive musician takes the time to teach you proper chords, or notes that you may have been missing for longer than you can remember. When this happens, there is no greater satisfaction to be derived in the learning process, and moving forward with new skills.

Bill H.

Posted: **11 Apr 2003 10:32 pm**

Bill, it was intended to be a lighthearted comment.
I hope you are not offended.

If you are, I apologize....

Maybe I should have used more smilies.

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Peter den Hartogh-Fender Artist S10-Remington U12-Hilton Volume Pedal-Gibson BR4 lapsteel-Guya "Stringmaster" Copy-MusicMan112RP-Peavy Rage158- - My Animation College in South Africa

Posted: **12 Apr 2003 4:11 am**

Peter,

On the contrary, I was uplifted by the humor, and your light reference to the "Upright Fretboard". Dogged and persistent criticism is one characteristic that is necessary, if a dubious concept stands on shaky ground. It's understandable that if a concept is unworthy of note, it will not sustain the hard blows delivered by verbose intellectual sharpshooters. As a rule, anyone would welcome a critic aboard. I try not to forget the story about, "Three Little Pigs".
Humor heals unjustifiable critique.

Bill H.

The Steel Guitar Forum

Memorandum, The Big Gun Of Practice Sessions

Memorandum, The Big Gun Of Practice Sessions