The Steel Guitar Forum

I am still pretty new to steel guitar, but in my listening I detect to different styles of playing (with plenty of overlap or combinations): chordal and single-note. Now obviously, one does not have to chose one or the other, but seems to me for whatever reason many of the great players seem to prefer one style over the other. For a basic start, I would suggest the early standout in single-note playing would be Joaquin Murphy, and following him would be Buddy Emmons (I recall Leon Rhodes' comments on first hearing Buddy play).

Chordal playing - There are many more early examples, but a clear one would be Speedy West, and later Curly Chalker.

Now don't get me wrong - I KNOW Buddy can play incredible chord-based solos, and Curly could play some great single-note stuff. But, they do seem to have leaned a bit more in one direction than the other. Certainly when Speedy or Curly's music really catches my attention, they are almost always playing chord leads.

So, input - what other players do you think typify a particular approach to the steel guitar? It seems to me that single-note stuff is currently in favor among most steelers - who, if anyone, is taking up the torch from Curly?

When we think of jazz instruments, we mostly thing about ones that only play single notes (trumpet, saxaphone, et al). So it is somewhat understandable that those drawn to Jazz tend to think in single-note style - Jim Cohen, would love to hear your opinion on this as you seem to favor single-note playing in your jazz album.

If this has been discussed before, sorry - a quick search did not turn up the threads, so please post links. I have put it in "pedal steel" rather "Steel Guitar Players" because, while using players as examples, I am more interested in how the players exemplified and expanded the techniques than just more accolades for the players, even though well-deserved.

Thoughts? Comments?

I am also pretty new at the pedal steel but I love to listen pedal steel solo or accompaniment parts with a minimum of 2 note, preferably 3 note harmonies.

The same apply to lap steels.

It's hard to beat the late and great Ben Keith for single-string work on E9th. I think he is one of the best examples of playing as simple as possible, and playing only what is needed to add to the music.

Ben never tried to be the star, but when he picked a note, you heard it and it was perfect for the moment and the song.

I don't think you can pin a "single note" or "chord" style on any player. As I listen to the "name" players I hear both.

Just because you can play a four-note passing figure does not mean that it is the most musical choice, and the same is equally true of fast single-note runs.

All of the mentioned players use the instrument to play MUSIC, and as such single notes and moving harmonies all have their place, in fact it is the choices made in the blending of these approaches that sets these - and many other - great players apart from the rest of the mob.

Dave Grafe wrote:
All of the mentioned players use the instrument to play MUSIC, and as such single notes and moving harmonies all have their place, in fact it is the choices made in the blending of these approaches that sets these - and many other - great players apart from the rest of the mob.

And, for that matter, from each other.

Chords, not single notes, are what make our instrument special. Note-bending and non-equal-temperament within the chords make it even better.

Reece Anderson - chords
Tom Morrell - everything

If you only want to play single notes, you sure don't need all that stuff cluttering up the bottom of your guitar.

I think a good player should be able to play both chords and single notes

As a guitarist, I always take the "serve the song, not yourself" approach. As a psg newbie, I'm doing the same. The song will dictate if chords, single lines, or a combination of both is best. Just my 2 cents.

Earnest Bovine wrote:Chords, not single notes, are what make our instrument special. Note-bending and non-equal-temperament within the chords make it even better.

I agree. If you're playing for your own enjoyment or for others that like the steel sound, this is where it's at. I've never cared for the staccato sound of single note playing.

Using single notes to layer chords is something I really like doing on pedal steel. I've made up my mind that my next steel is going to be a 12-string just for that reason. It involves a lot of dynamics, careful muting, and thinking ahead, which makes it challenging and fun to play.

Thanks for the topic Douglas. I have observed in my Steel Guitar Journey much of what you have said. As a stylistic approach you find that it is all a blend and I think with musicians in general there are two basic types. The emulators who be content to be a clone of their favorite player and then those that are looking for their own sound.
I agree with what the Bovine said, but maybe that is because my first mentor was Maurice Anderson. To me the uniqueness of the PSG are the big chords and the quantity of them. When you play true 7 and 9th chords a dead is pretty bland. Reece was always good at adding a 7th or 9th for "flavoring". You certainly don't need 10 to 20+ strings, numerous levers and pedals for playing single note runs.
Sometimes I think our ear tricks us. What you might perceive as single note often is not. As you know many times you will not play certain notes as they are being played by other instruments. Like Franklin said we are all on a musical train, and we decide where to get off. Many of the readers of this page believe a dominant 7 is two or three notes, it works for them, so more power to them.
And by the way the saxophone is capable of playing all chords, including a minor 7 flat 5!

Reece also had some pretty crackin single note runs.

As a student of Jeff Newmans, I play one or two notes most of the time. Jeff taught that one or two notes sounded better and cleaner with the band and had less overtones. I use three notes on songs that ask for it. Pass Me By, Waltz Across Texas come to mind. There is a signature sound in those that just doesn't sound right to me without 3 notes. I strum 4 strings or more on C6th. The Western Swing, Blues, and Rockabilly stuff just calls for it.

You just need to play what the song is calling for and have good taste. Playing at home by yourself, it can sound great with a whole bunch of notes but that doesn't mean they will sit well with a band. Listen to Emmons, Lloyd Green, Paul Franklin, and others that have recorded hit songs. Most of the commercial stuff is one or two notes.

There is a place for single string, two strings, three strings, and even more strings, but you have to be careful using more than one or two strings and make sure it sounds right with the band and to the ears of the general public that pay to see you. They understand and appreciate you when you play the melody and play it simple. My girlfriend has played piano for 50 plus years. When she hears a band, she hates it when they don't play the melody. She always says "Listen to him, he is not even playing the melody, just a bunch of notes that have nothing to do with the song."

BTW Douglas, I envy you living in the paradise of St. Johns. I was there a few years ago and took a side trip to St. Johns as part of a Cruise to St. Thomas. It doesn't get much better than Trunk Bay.

For chordal arrangements, Sez Adamson's solo performances of jazz standards (on YouTube) have been a particular source of inspiration to me.

I tend to play two or three note chords, but when I switch the effects to Dobro, and a good solo part comes along, it's singles for me, using the pedals and levers along with the bar to get those neat sounding slides.

It never occurred to me that players had to choose between single note vs chord solo's, or pads, or whatever.....when did that begin ?

You ALWAYS have to choose. But the choice is usually reflexive, unencumbered by the thought process.

I think alot of it has to do with accompniment.
If there already are a bunch of notes in the mix single note stuff will stand out whereas a three string grip may just add to an already cluttered background.
If I perform by myself I attempt to be the entire band and I play cords mixed with single notes - anything goes to make it interesting.
Well behaved band members who bow out during your solo are enabling.

Lane Gray wrote:You ALWAYS have to choose. But the choice is usually reflexive, unencumbered by the thought process.

I like it all, depending on which musical moment is happening. The pedal steel can sound like a full big band horn section all the way down to the smallness of jazz guitar playing single notes, with a ton of variables in between. For me, I intend to take advantage of as many textures as I can, hopefully basing my choices on good musical decisions.

Hey Doug. I dunno. Do I lean more toward single note soloing vs chordal? I'm really not sure. Certainly some of the tunes on my jazz album are heavily chordal (Lush Life, Far Wes, and My Little Suede Shoes come to mind) and probably some others are weighted toward single note soloing. I think I agree with Lane that it's a more-or-less subconscious decision that's based on one's musical taste and instrumental capacities resulting in a subconscious choice of how to interpret each tune. As a result, every tune comes out with a different balance, hopefully one that listeners feel serves the particular song and communicates the intended feeling. (Speed-picking over everything would be boring as all heck and wouldn't be appropriate to every tune, but it sure is nice to have in your bag of tricks for when you need it.)

And I agree with Christopher W. because I always agree with Christopher W.

Well said, Jim!!! Hahahaha

silly me, I understood the question to imply to decide, one or the other ! NO brain thought required !