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Topic: Tip of the day (3) |
Larry Behm
From:
Mt Angel, Or 97362
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Posted 2 Jul 2009 4:40 am |
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Blocking is everything. Think of it like a football front line. If the linemen do not block the backs just end up in a big "pig pile" in the center of the field because they could not break through.
If you do not block your notes theyjustallruntogether and end up in a big "pig pile" in the ears of the listeners.
My students get phyically sick of me talking about blocking, but those who "live to tell the story" are becoming very very good players, and most of that is their willingness to learn to block like a Greenbay Packer lineman.
Larry Behm |
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Joel Meredith
From:
Portland,Oregon, USA
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Posted 2 Jul 2009 8:24 am
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Larry, I still use the blocking method you taught me...very useful!
Thanks, man
Joel |
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Pete Burak
From:
Portland, OR USA
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Posted 2 Jul 2009 9:23 am
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I've always wondered why sustain is so important if blocking is so important?
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Larry Behm
From:
Mt Angel, Or 97362
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Posted 2 Jul 2009 12:40 pm
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Notes sustaining over the top of each other does not sound very good to me.
For those who do not know Pete he is a great great player and is just having fun with this old guy.
Larry |
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Ken Pippus
From:
Langford, BC, Canada
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Posted 2 Jul 2009 12:47 pm
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It's very interesting to contrast the widely held opinion that only great blocking technique will yield a professional sound, to Bobbe Seymour's assertion on at least one of his teaching tapes that he almost never blocks, and thinks it ruins the sound of a steel. I suspect that both viewpoints have some validity. I agree with Mr. Behm that sustaining a lot of notes with major or minor 2nd intervals to the new chord is not going to travel well in anything but experimental jazz circles.
KP |
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David Wright
From:
Pilot Point ,Tx USA.
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Posted 2 Jul 2009 1:24 pm
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[quotewillingness to learn to block like a Greenbay Packer lineman.
Hummmmmmmmmmmmmmmmm.....Just think if you had the Cowboy's !!!!!  |
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Georg Sørtun
From:
Mandal, Agder, Norway
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Posted 2 Jul 2009 3:15 pm
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Hmmm, dunno really.
What goes depends entirely on the tune and what I'm trying to express.
Too much of anything is usually not a good thing, so combining blocked notes with sustained notes seems to be the balance I'm going for.
Well-intonated changing chords that are sustained behind equally well-intonated and properly back-muted individual notes, creates something unique that one can only get from a steel.
Although good blocking is essential, I wouldn't like to lose my steel's characteristics and uniqueness by "over-blocking". |
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Pete Burak
From:
Portland, OR USA
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Posted 2 Jul 2009 6:11 pm
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Hi Larry! Yes, of course Larry's point about blocking is a great tip that I often find myself really honing in on on specific songs over the course of a gig where I'll really get focused on every right hand block. I mostly palm block, but also will block with whatever finger/thumb/pick/hand is handy at the time. It's super fun to do.
Dig in, Block solid, and breath bay-bee! 
For all we know, the next song might be Bluuuuuuue Spanish Eyes... instrumental.  |
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Larry Behm
From:
Mt Angel, Or 97362
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Posted 3 Jul 2009 5:45 am
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Georg you are right on the money. My "tip" was meant to awaken those who do not block. I too play many looooong sustaaaaaining notes, but at the end of the note I block it before I go the next note. Unlike the approach you would have to take on Truck Driving Man or The OBS.
Larry Behm |
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Larry Bressington
From:
Nebraska
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Posted 5 Jul 2009 1:13 pm
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Alright, alright, How do we do it??? I cant seem to make my mind up if i'm blocking good or not, it sounds clean on tape and live, but i dont know if i have a technique down.
I am not even sure how pick blocking is done, i must have the palm thing going on.
I curl my 3rd and 4th fingers under, is that still a good method larry, i think i read your wonderful article years ago about that, and i took that system on, Now i cant tell if im still doing it right.
I agree the mashing of overtones is not good either.
_________________
A.K.A Chappy. |
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Larry Bressington
From:
Nebraska
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Posted 5 Jul 2009 1:24 pm
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OK i just checked myself, i'm am for sure using the palm with the fingers tucked in tight 3rd and 4th.
Can you give us some clues larry as to what to look for please??
_________________
A.K.A Chappy. |
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Larry Behm
From:
Mt Angel, Or 97362
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Posted 5 Jul 2009 2:21 pm
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Pick a note, block it or mute it with your right hand before you play the next note. If you still hear the first note ringing along with the second note you did not get it, do it again.
That would be the basic idea. Now if you pick a note (or 2 or 3 together) and mash the pedals and then release them all of these note may be continuous. Before you play the next note (or 2 or 3) BLOCK THE NOTES YOU JUST PLAYED. If you do not you will have notes going all over the place.
People talk in short phrases or sentences, play the same way. IthinkyouareaboutthemostbeautifulgirlIhaveeverseen. Just does not have the same impact with no breaks between words.
Larry Behm |
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