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Topic: Approaches to reading music for steel? |
Ben Edmonds
From:
Greenfield, Massachusetts, USA
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Posted 1 Dec 2008 7:32 pm |
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I have been teaching myself how to read for steel on the C6 neck mostly. I am going through mostly guitar books like Modern Method for Guitar by William Leavitt the book they use at Berklee and I have just been painfully figuring it out and I can see real progress, I find it a bit confusing for the obvious reasons of the ever shifting tuning, but even that seems to be getting better. I also am just going through the eral book and reading easy tunes, I think I end up using my ear a lot though when it comes to that.
I guess I am looking for input from other players on a logical approach. I read fluently for guitar and have studied music since I was a kid so that part is taken care of, I am also curious how many people actually do read music for steel. I know it can only help me to understand the instrument deeper so I know its wise, and in the past year I have had many gigs where I had to read and this is what got me started because I hate to "fake it" and honestly I found those gigs to be really challenging, and as steel players I think we all like a good challenge.
Thanks |
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chas smith R.I.P.
From:
Encino, CA, USA
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Posted 1 Dec 2008 7:41 pm
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When I had to read (simple lines) underline simple, I focused on the 8th fret of the E9, the "C" fret and memorized the C scale there, with the "normal" pedals and knee levers, that way, the accidentals were a fret up or down. 3rd fret, pedals down, is the next "logical" C fret.
Learning the C6 neck makes a lot of sense and I have a couple 12-string non-pedal guitars with hybrid-diatonic tunings. One in C and the other, an E9 "pedals up and down" sort of thing. What that all means is, I can't remember how to play anything, but I can't play it in a lot of tunings....
The guy you want to talk to is Ernest Bovine, aka Doug Livingston. He really knows how to read. |
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Ben Lawson
From:
Brooksville Florida
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Posted 2 Dec 2008 6:18 am
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| Mike Perlowin sent me a great method for reading music and applying it to the steel. Maybe he can add to the subject. |
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Jim Cohen
From:
Philadelphia, PA
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David Doggett
From:
Bawl'mer, MD (formerly of MS, Nawluns, Gnashville, Knocksville, Lost Angeles, Bahsten. and Philly)
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Posted 2 Dec 2008 9:08 am
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| Chas' approach makes the most sense to me. Learn the notes for the key of C in the several common positions. Many times when someone gives you music, they can give it to you in whatever key you need for your instrument (Eb alto sax, Bb trumpet, C flute, etc.). Ask them to always make your part in the key of C, regardless of the key the piece will be played in. Explain it to them that you use your bar like a capo, so you can always use your fingers and pedals like in the key of C, and use your bar to move that to whatever fret is required for the actual key of the song. A lot of people these days use music writing software, and they can do that without a lot of trouble. If not, you can transpose to C yourself, if you can get your part ahead of time. |
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Doug Beaumier
From:
Northampton, MA
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Posted 2 Dec 2008 10:15 am
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I agree with all of the above. Learn the notes in one area of the fretboard first. Learn the major scale using the pedals and levers in that area, and then without using pedals or levers in that area. Also learn to recognize the intervals when you look at the strings, i.e. the roots, fifths, thirds, etc. After you can sight read a few simple songs in that position, move on to another position of the major scale and memorize the notes in that area, with and without pedals.
Once you can play and hear a song in one position, you'll probably want to work out the smoothest way to play those notes, moving between the positions, using the many harmonies available on the pedal steel guitar. Best of luck with it.
_________________
My Site / My YouTube Channel
25 Songs C6 Lap Steel / 25 MORE Songs C6 Lap Steel / 16 Songs, C6, A6, B11 / 60 Popular Melodies E9 Pedal Steel |
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Dean Parks
From:
Sherman Oaks, California, USA
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Posted 2 Dec 2008 1:11 pm
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Reading on guitar makes reading on B6 easier than C6, for me. Reason is, you already know where all the notes are on your guitar B string.
Another approach: Since you are a fluent reader, you may be able to "sight-sing", meaning, see a piece of music, and sing it (using an instrument or tuning aid to find a known pitch, then reading from there).
If so, you then need to learn how to play what you hear (or imagine) on the steel guitar. Then simply sight-sing, using the steel instead of voice.
This is a 2-step process, so not as quick as knowing the notes from habit, but, you can read from any position, and in fact, develop a memory of where the notes are, on any instrument (and you can transpose).
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Regarding looking away from the music to find your fret; that's not so easy. |
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David Mason
From:
Cambridge, MD, USA
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Posted 2 Dec 2008 4:33 pm
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I sure wish there was a shortcut... my guitar students are always looking for the magic secret, and the only one I know is:
"You get better at what you practice & you don't get better at what you don't practice."
Put yer TV in the garage & yer steel guitar in the living room....  |
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Mike Perlowin
From:
Los Angeles CA
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Ben Edmonds
From:
Greenfield, Massachusetts, USA
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Posted 2 Dec 2008 7:51 pm
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I have taken the approach of starting in the key of c on both necks, my focus has been C6 just because I really enjoy that neck and it suits my ears better. That said, I rarely get to play much on that neck... but heres to hoping... I have taken the no pedal approach to that neck as far as reading single note lines but as far as chords, like the etudes in the Leavitt book I generally go for pedals if I need to. It is quite a task but I have to say its a nice break from learning licks all the time.
Mike I would like to check out what you have. I will email you, and thanks everyone for the responses! |
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Bo Legg
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Posted 3 Dec 2008 3:49 pm
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Other than a fake book with melody only, I would not ever put myself in a position to where I would have to open an unknown piece of sheet music and play it for someone.
Sheet music to me is reference material only.
The PSG is chord forms and note patterns or clusters repeating in each key as you proceed up and down the neck. By substituting numbers which stay the same for alphabetical notes that change every time you move, it is easy to see how this would simplify the and speed up the reading process.
I like notation that includes the chords so I can instantly know in what position or positions I’m going to play the notes. I simply read the notation and find the root of the chord and number it (1) in my mind and make the transition to numbers as I read one chord to the next etc..
I memorized the PSG neck as numbers. I make that transition within the notation as I read.
How long does it take you to figure out what chord F#, A#, C, E, G#, is?
Now how long does it take you to list the same chord in notation for the other 10 keys
How long does it take you to figure out what 1, 3, b5, b7, 9, is?
Now how long does it take you to list the same chord in numbers for the other 10 keys? |
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Dave Ristrim
From:
Whites Creek, TN
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Posted 3 Dec 2008 5:27 pm
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Yeah, it can be a chore. I basically look at what key the song is in, then what range it's in. That'll put you around where the main position will be on which ever neck you choose. Then I "see" the notes on the page and notice the intervals (root, 3rd, 5th, etc.) and apply that to the position on the neck. It's not as crazy as it sounds, but you need to know theory as it applies to the pedal steel. Know where your roots, thirds, fifths are and the battle is mostly won.
After some time of doing this, you'll start knowing where the notes actually are. Sad thing is, after taking a couple years off of reading, it takes some time to get decent at it again. Practice makes perfect.
Dave |
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Ben Edmonds
From:
Greenfield, Massachusetts, USA
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Posted 4 Dec 2008 11:10 am
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Like Bo I find life much easier with a lead sheet with melody and chords... all of the suggestions are very good. The main reason I want to do this is mostly so I can apply my knowledge of theory to the steel more directly AND I have been handed music with everything written in standard notation with no chord symbols... as luck would have it I got the music a couple weeks in advance otherwise I would have been hopelessly lost! that was the second time that happened and the first time was at a gig and I had never seen the music prior to and hour before we went on so I had to work it out quick! did the best I could but after the third gig I had it, very stressful!
I dont expect to be able to be a master sight reader but I do want to feel more comfortable...Plus like I said earlier its a good way for me to warm up if I spend a half hour slowly playing tunes. Maybe I am crazy but I find it fun. |
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Fred Shannon
From:
Rocking "S" Ranch, Comancheria, Texas, R.I.P.
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Posted 4 Dec 2008 11:18 am
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Get Mike Perlowin's material. It works.
phred
_________________
There are only two defining forces that have offered to die for you; Jesus Christ and the American GI!!
Think about it!! |
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Mike Perlowin
From:
Los Angeles CA
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Posted 4 Dec 2008 11:25 am
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Thanks Phred. I'm glad you found it helpful.
A quick reminder: I'm sending this out for free. Just E-mail me so I know where to send the file.
_________________
Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin |
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Ben Edmonds
From:
Greenfield, Massachusetts, USA
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Posted 4 Dec 2008 12:56 pm
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| I have mikes method, and it seems to make lots of sense. It is a nice piece of work. |
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Ernest Cawby
From:
Lake City, Florida, USA, R.I.P.
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Posted 5 Dec 2008 6:47 pm music
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I played for 25 years in bass cleff, last half of 1953 on bass horn, now try to change over, some chore. FRom 19 46 till 1953 US Army Band, 31st Division, Dixie Devision Band, then 15 years in a church band with 50 members.
ernie |
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