The Accidental Non-pedal Steel Guitarist
Posted: 24 Oct 2021 11:16 am
We had a unexpected visitor at last night's Beats Walkin' performance at 118 North in Wayne, PA who played NON-pedal steel all night. It was ME!
As I unpacked my steel, I must have turned totally white in horror as I discovered that my pedal rack was not in the case, nor in my car, but undoubtedly still at home where I last left it. Our fiddler, Michael Salsburg, standing next to me, lost count of the number of times I exclaimed "OH. MY. GOD!" shaking my head in panic and wondering how the hell I was gonna get through a whole gig with no pedals. 😱😱😱
Mind you, the original western swingers all did it with no pedals. Lucky Oceans and Cindy Cashdollar play Texas swing sans pedals, as do many others. But I'm not one who has ever really invested the time to learn and master the techniques of the nonpedal players (forward and reverse bar slants, partial and rootless chord positions, altered tunings, etc.), preferring what I call "the lazy man's instrument", that gets all those voicings with pre-tuned pedals. So the prospect of playing without my crutches/pedals was daunting and I had no idea how I was gonna get through this gig.
Then it dawned on me -- hey I still have my KNEE LEVERS! For those who don't know, these hang down from the undercarriage of the instrument and function like extra pedals, but are actuated by moving your knees left, right, or upward. Since I play almost all C6 tuning with BW, my first important realization was that I had a left-knee-vertical that lowers my middle E (6th string) a whole step and if I backed off the tuner so it lowered it only a half step, it would function like my missing pedal 6 (except wouldn't raise the 2nd string too - so I'd have to avoid hitting that string in the wrong context. But it would at least give me a IV7 or IV9 without changing frets). That one change made the whole gig possible for me. I could also raise and lower my C's so that was helpful for the 3-above dominant 7 position and other nice moves, and I have knee levers to raise and lower my 4th & 8th string A's to Bb, so I had another open dom7 position available.
So I definitely had to stay alert and be mindful of what I could and could not do, and I couldn't just rely on muscle memory.
I must confess that, on a few occasions, I took advantage of the "bandleader's prerogative" and tossed the solo to another player when I just wasn't confident I could pull that section off myself. But most of the time, I just went for it and actually ended up having fun challenging myself to make acceptable music on the remaining half of the instrument I had remembered to bring along. ðŸ˜
I don't look forward to ever having to do that again on such short notice, but it was a great learning experience and good to know that I could do it, if I ever really needed to. Just don't ask me to play dobro when the electricity goes out! 😳😳😳
As I unpacked my steel, I must have turned totally white in horror as I discovered that my pedal rack was not in the case, nor in my car, but undoubtedly still at home where I last left it. Our fiddler, Michael Salsburg, standing next to me, lost count of the number of times I exclaimed "OH. MY. GOD!" shaking my head in panic and wondering how the hell I was gonna get through a whole gig with no pedals. 😱😱😱
Mind you, the original western swingers all did it with no pedals. Lucky Oceans and Cindy Cashdollar play Texas swing sans pedals, as do many others. But I'm not one who has ever really invested the time to learn and master the techniques of the nonpedal players (forward and reverse bar slants, partial and rootless chord positions, altered tunings, etc.), preferring what I call "the lazy man's instrument", that gets all those voicings with pre-tuned pedals. So the prospect of playing without my crutches/pedals was daunting and I had no idea how I was gonna get through this gig.
Then it dawned on me -- hey I still have my KNEE LEVERS! For those who don't know, these hang down from the undercarriage of the instrument and function like extra pedals, but are actuated by moving your knees left, right, or upward. Since I play almost all C6 tuning with BW, my first important realization was that I had a left-knee-vertical that lowers my middle E (6th string) a whole step and if I backed off the tuner so it lowered it only a half step, it would function like my missing pedal 6 (except wouldn't raise the 2nd string too - so I'd have to avoid hitting that string in the wrong context. But it would at least give me a IV7 or IV9 without changing frets). That one change made the whole gig possible for me. I could also raise and lower my C's so that was helpful for the 3-above dominant 7 position and other nice moves, and I have knee levers to raise and lower my 4th & 8th string A's to Bb, so I had another open dom7 position available.
So I definitely had to stay alert and be mindful of what I could and could not do, and I couldn't just rely on muscle memory.
I must confess that, on a few occasions, I took advantage of the "bandleader's prerogative" and tossed the solo to another player when I just wasn't confident I could pull that section off myself. But most of the time, I just went for it and actually ended up having fun challenging myself to make acceptable music on the remaining half of the instrument I had remembered to bring along. ðŸ˜
I don't look forward to ever having to do that again on such short notice, but it was a great learning experience and good to know that I could do it, if I ever really needed to. Just don't ask me to play dobro when the electricity goes out! 😳😳😳