How Do We Identify Quality Steel Guitar Practice?

Bill Hankey · From: Pittsfield, MA, USA

Do mood swings determine how much new knowledge is gained, each time we practice as a steel player?

Bent Romnes · From: London,Ontario, Canada

Yes. But always in a positive way ie, more knowledge gained no matter what kind of mood you are in when you start.
If you are in a sad, down mood, you start playing and the sweet sounds coming out of your amp puts you in a much better mood.

If you are happy and upbeat, you get even happier as you play. Win-win both ways.

Ray Montee · From: Portland, Oregon (deceased)

Personally, being in the mood has everything to do with the outcome of my practice sessions. I might sit down with nothing on my mind and come off with a tremendously beneficial session.

Other times, I might want very much to play but the magic just can't be found.

Even JERRY BYRD admitted to me, that many times he'd go to the studio and on more than one occasion, would be totally at a loss as what to play.

I feel that since our playing comes so much from the heart, that we have to be operating in the "MOOD" phase of living for it to all click. Attempting to practice when you're just not into it can become most frustrating and discouraging. So little is often realized.....

Andy Sandoval · From: Bakersfield, California, USA

I agree with you guys. There's been times when I sit down at my guitar and I can't make anything sound right. Be it mood or whatever, sometimes I just have to give it a little rest and walk away from it. then I'll come back again maybe a few days or weeks sometimes and all of a sudden there's that sound back again....?????

Brandon Ordoyne · From: Needville,Texas USA

a couple Bud Lights and I am in the mood Laughing

Seriously, I practice about 2 hours a night, and I could have had a hard day at work, and I sit behind my steel and I get in a better mood once I start playing.

Brandon
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Bob Hoffnar · From: Austin, Tx

I guess I am in the minority here. I feel like hours of daily drills are the thing that improve my playing the most. When I am struggling with a scale or phrase and feel like I am getting nowhere that is where the real work and progress is happening. If you are trying to get to the top of a mountain the easy, fun flat parts are fine but not where progress happens. Burning the information into my muscles with constant repitition gives me the strength and freedom to bypass my mind and really let the music flow when I hit the bandstand. I do things like practice the same note on different strings for an hour before I work my way up to playing a scale. It clears gunk and clutter out of my mind. After an hour or so like that I am ready to dig into some tunes.
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Bob

Billy Carr · From: Seminary, Mississippi, USA (deceased)

THERAPY is what I call it now. Relax and play whatever comes out.

Dean Gray · From: New South Wales, Australia

Just a quick hello first - I'm new and I introduced myself over on Steel Without Pedals, as I predominantly play dobro and non-pedal steel. Nice to be here!

I think mood can have a huge impact on the effectiveness of practice sessions, not to mention our ability to interact and perform with other musicians.
Sometimes, despite my love of music and the steel guitar, and my desire to improve my abilities on the instrument, it can seem to be a chore to actually go and practice. Many of us here have "day" jobs (or are shift workers as I am), we have wives (husbands), kids, mortgages, and many other obligations that require our time and energy. It can be hard to make time for ourselves, or even feel motivated to sit down and practise a musical instrument.
If I am not feeling particularly motivated, what I will try are simple right hand roll patterns, to a metronome. This kind of repetitive motion is obviously beneficial to right hand technique, but can also act (for me) as a kind of meditation - as I focus on my timing and pick attack it can clear out all the random and negative thoughts from my mind and make me feel good about practicing. Sometimes I will sit and do this drill in front of a mirror to watch my right hand, to see how small movements and adjustments affect my tone/attack etc.

If this works well, my mood improves, and I feel alert and focused, then I continue on to more "cerebral" type practice - i.e. chords/scales/substitutions etc... If not, at least I got some benefit in the picking hand.

I feel better about myself, and my playing if I get even just a little bit of practise in every day.

Ray - it was enlightening to hear that even Jerry Byrd had moments where he felt uninspired. Did he mention what techniques worked for him to get back "in the mood"?

(Sorry about the lengthy reply!)
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Bill Hankey · From: Pittsfield, MA, USA

Wouldn't it be fair to assume that lifestyles are interdependent with practice sessions. From my point of view, the burning desire to return to practice to satisfy a ritualistic desire, observed in others, is recognizable through association. I have seen players when not in the best moods, walk away from their steel guitars, scratching the back of their heads. Others will bend their backs for seemingly interminable time spans, until they are called to dinner. Influences may very well have set the stage for a lifetime of personal goals. Scores of youthful memories, such as switching from Ford to Chrysler Products, for a better ride, or a terminated romance, may have created the cornerstones for a lifetime of musical interests. In the very young musical prodigies, nothing can be found to explain their amazing talents. I don't recall seeing a steel guitar prodigy under age 10. (I'm not sure when the newcomer Austin Stewart started playing). I've read accounts of Barbara Mandrell, the lovely multi-instrumentalist from Houston, Texas playing pedal steel at age 11. Barbara could read music and play the accordion at age 5. These accounts add to a long list of influences that promote faithful practice sessions, and the inclination to satisfy a desire to go as far as possible in the study of the steel guitar.

Chris Morano · From: Rowe, Massachusetts, USA

Great thread Bill, and thoughtful responses from all. IMHO what makes a practice session fruitful is the degree of clarity and focus you bring to it. Being clear on your intent, focused on your approach, and being able to bring your mind back again and again when you notice it wanders. My moods good or bad are usually reactions to the unpredictable bounces of the ball of life. If I keep trying to view the replay of that bounce in my head I can't be focused on the practice. I will also add that regardless of mood what's most critical is to get your butt into the chair and play. The game I play when I'm beat up from the day and my only desire is to take a handful of Motrin and crawl into the wood stove, is to say that Ill just play for 15 minutes. Fifteen minutes usually turns into an hour without a problem.

By the way Bill we're practically neighbors, I live over the mountain in Rowe.

Bill Hankey · From: Pittsfield, MA, USA

Chris M.,

It's nice to know that you're fairly close to Pittsfield, MA. I agree, the responses make these threads worthwhile, especially when new ideas are introduced. I enjoy jamming with friends. It's one of my favorite things to do. Thanks for responding.

Ray Montee · From: Portland, Oregon (deceased)

Dean.........Jerry Byrd shared no 'secrets' with me about how to get inspired but one of those occasions where he was totally unprepared was during the session where he & Rex Allen threw together Jerry's all-time hit "STEELIN' the BLUES". As I understood the story, they went outside the studio and into the hallway where they manufactured this great steel guitar hit.

Just goes to show you!

Jim Cohen · From: Philadelphia, PA

Dave Mudgett · From: Central Pennsylvania and Gallatin, Tennessee

Eric West · From: Portland, Oregon, USA, R.I.P.

Well Bill, I'm going to go out there on a limb, and give myself a shade tree psycholocif.. sych.. psich..

Well you know, what Reece does..

I'm to a certain degree, what I understand to be a manic depressive, at least by today's clinical standards. Always have been.

Keep in mind that it's like the ADHD phenom. ALL of us had that as kids, and nobody knew what it "was". They just whipped our asses and told us to calm down..

The HIGHS I have and have since I was a young ADDer are TOTALLY GREAT, and I wouldn't trade them for anything.

I've found that the Low Periods are what I have come to use for practicing. That way, instead of slitting my wrists or axe-murdering my neighbors, I use those times to become better, and wipe out the memories of gigs I'd rather forget.

The periods of my life that turned out the best were the ones that I directed the Low Points toward Practice.

Possibly if more of these "psychological deficiencies" or "popular maladies" were cured with positive things like practicing musical instruments, there'd be a lot less wrongly prescribed "medication".

Your mileage of course..

Smile

EJL

Bill Hankey · From: Pittsfield, MA, USA

Eric W.,

We'll never know precisely what goes on "Behind Closed Doors", and wonder as we may, it is meant to be. This "Tip of the iceberg" info line (forum reports) begets much insight, depending on the steel player's willingness to disclose the arduous hours of intensive, and serious work-outs. Still, there remains unaccounted for, stretches of practice time, logged through forgotten endless periods of enthusiastic, and indefatigable searches for the all-important elusive melodies. The best of memories are replaced by accepting new challenges that offer new references to higher places, as the ladder is pushed to new heights. The most inquisitive provide interesting concepts of human nature, by their actions that include trying to keep pace with the latest technical approaches to steel guitar mastery.

Jim Cohen · From: Philadelphia, PA

Thanks, Bill. I feel better now.

Bill Hankey · From: Pittsfield, MA, USA

Jim Cohen,

I miss hearing your expert playing style and your cool professional demeanor on stage. I must avoid the gummy noneuphonious language in an effort to keep within the guidelines of the responses thus
far. We're cooling down a bit here in Pittsfield. It will soon be winter in the Berkshires.

Ben Jones · From: Seattle, Washington, USA

"How Do We Identify Quality Steel Guitar Practice?"

oooh...oooh...*raises hand and furiously waves it

I actually know the answer to this question and thats probably a first for me on this forum, tho that never stops me from posting stupid advice as if I did know something. Sad

Anyway, the answer is, its the opposite of how i practice. I also give out stock market tips. I tell you what to invest in, then you go out and buy whatever I didnt suggest and become rich..gimme a call sometime and I'll hook you up.

Bill Hankey · From: Pittsfield, MA, USA

Ray M.,

Thanks for the information about Jerry Byrd. I have a VCR of one of Faron's last musical performances. He loved talking about Hawaii's gain and our loss, when Jerry took his advice by moving there to take up permanent residence on the Pacific Island. According to Faron, he strolled into a pharmacy in Nashville, Tn., where Jerry was working at the time. Of course Faron, was known for telling it "like it is". He knew very well that Jerry refused to make the changes required to play pedal steel guitar. No doubt Faron was in a good mood when he quipped; "Jerry, why don't you move to Hawaii? The people love to play your style there." Well, Jerry took his advice seriously, and made his way to warmer climes. Faron jokingly remarked; "Jerry, send me some money." It would be interesting to learn more about the reasons behind Jerry's refusal to move to the pedal steel guitar. If he discussed his reasons in an interview, back in time, I would appreciate knowing where to look to find actual verbatim quotes, made by Jerry. I thought that he may have regarded the lack of precise tuning capabilities too conflicting with his extreme dexterities. Knee levers became an absolute joy as mechanically minded players applied gradual improvements, by implementing additional pitch change abilities. It has become an assortment of unrelated changes in positionings of the levers, to suit the various perspectives of those looking for the ideal approaches to a better way. For years players have chanted about the Emmons or Day setups. Gradually, astute players such as Franklin, Evans, and players of simply simplistic changes, have modified our thinking, allowing for expanded interests, that surpass the original concepts.

Tony Prior · From: Charlotte NC

I guess my gauge is the gig, when the THINGS I have been working on day after day and month after month all of a sudden just appear in my normal AUTO zone on the gig...

Of course being in the right frame of mind for a practice session is paramount. A short focused 15 or 20 min is better than 1 or 2 hours of blah'ing around with no set format. A few minutes everyday or as often as possible is equally as important.

Bill Hankey · From: Pittsfield, MA, USA

Tony P.,

I really appreciate reading your posts as they always assure me of reading a grouping of the aptest of communicants on the forum. My good friend Leigh Howell lives in Holly Ridge, N.C. since retiring, and moving there. He can sing up a storm, and knows country music "from start to finish". For years he maintained high bandstand statuses within 50 miles of my location. Steel guitarist, Doug Beaumier, played for Leigh five nights a week in West Springfield, MA. I'm sure that most will agree how quickly time slips away.

Bill Hankey · From: Pittsfield, MA, USA

Try as we may, by devoting much practice time to serious practice, still that elusive level of expertise can only be wished for. Hours of practice will invariably not resolve the hunger for high levels of advanced performances. Actually, there are more levels of playing abilities than one might realize; starting at the beginner's level, and working on up through hundreds of stages just to reach the intermediate classes, or better referred to as a moderately revved up stage. Revved up, because the climb has become more vertical, as we claw our way a fraction of an inch with each practice session. This business of reaching that plateau where only a small fraction of players have succeeded in reaching, will offer the greatest musical challenge of a lifetime.

Chris Morano · From: Rowe, Massachusetts, USA

Bill,

It would be interesting to examine what the limiting factors are that determine the level one can achieve, what is responsible for its elusive nature. Time, talent, discipline, exposure, experience, focus, genetics, passion, purpose. How far can you go, and at what price?

Charley Wilder · From: Dover, New Hampshire, USA

I have never thought of practice as quality or non-quality. It, with me, takes on many forms and is just practice. I play just as well or poorly no matter what the mood. I like to play. If I'm in a certain mood I might just run rhythm tracks for a couple of hours. Or I might work on course material. Or work on riffs or a solo off a CD. Also just noodling around for an hour or so leads to all kinds of things. Or any combination of any or all of the above. I don't "think" about approaches, feelings, etc. toward playing. I've found that playing beats thinking about it every time!

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