No Gimmicks.. Just Talent Will Get You There

Bill Hankey · From: Pittsfield, MA, USA

There is strong evidence that without a degree of natural talent, exceptionally creative playing on the pedal steel is virtually impossible. The realization will come winging in sooner or later for the lesser groups of players after paying their dues, and at some point they will begin to realize that reaching a level of perfection may never be achieved. If after reaching a certain level of playing, progress seems to level off, long before attaining a likeness to the greats who have mastered the instrument, two choices remain as options. Enjoy the perceptiveness of mediocrity, or continue to pursue a lifelong dream to match the most talented of steel guitarists.

Mark Eaton · Posted 8 Jun 2011 1:40 pm

If there is strong evidence that natural talent exists, how long does it take to realize you evidently don't have it? "Sooner or later" covers a lot of ground...
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Mark

Geoff Barnes · From: Sydney, Australia

Or Stop viewing it as a competition. Search for your inner voice and pursue that.
By all means look at what the masters of the instrument have laid out in front of you and strive to understand those elements that excite and inspire you but the real key lies within. Search for your own signature. The “masters” have done that and are moving on. If you aspire to compete by “attaining a likeness” you are doomed to stay one step behind.
Talent and fame are separate entities. A great many talented people never leave their lounge room and are perfectly content to “make a joyful noise” for their own satisfaction. Conversely there are many people who achieve fame who aren’t particularly talented. Right place, right time, marketing, blanket exposure, strategic product placement, or a hungry PR crew may get you in people’s homes, car radios and magazines etc.
Personally, I enjoy it most when I finally grasp small musical concepts that eluded me in the past. The pedal steel is a fantastic device in that progress for me is measurable as long as I push beyond my boundaries in a realistic way. I learn a little and jam the heck out of it; this inspires me to go a little deeper. A plateau is a ways off right now.
Nothing is “due” unless it is first earned and the price mutually agreed upon beforehand.
Laughing

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Too much equipment....I think I need help.

Charles Davidson · From: Phenix City Alabama, USA

No one,absolutly NO one has ever mastered a musical instrument,horns,steels,guitars,fiddles,etc. That would mean there was NOTHING left to learn. The greatest pickers on earth learn new things till the day they die. YOU BETCHA,DYK?BC.
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Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC !

Joe Smith · From: Charlotte, NC, USA

Dana Blodgett · From: California, USA

Well said Geoff!I couldn't have said it better.
A mediocre Steeler from a two horse town,striving for perfection.
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Dana Blodgett
From Los Osos,Ca.
'74 ShoBud 6140 3+4, Martins HD28,D-12-28, D-15,'65 Gibson LG-1, '77 Gibson Les Paul special dbl cut p-90's, Les Paul Special p-100's,Les paul Special Hybrid(maple top) hbkr's,'68 Fender Strat reissue, Fender Squire Jazz bass,Epi mandolin,Epi Wilshire '66 reissue, Kamaka Concert uke, 70's Kamaka Soprano Uke, Fender Super amp, Ampeg ba112 bass amp,60's harmony banjo,'00 Gibson SG Supreme

Stephen Silver · From: Asheville, NC

Hey Dana, if you run into Bruce Sorenson around town tell him I said hi.

SS
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Life is mostly Attitude and Timing

Dana Blodgett · From: California, USA

Ok, will do. The name sounds familiar...Not sure I know him. I know of only one other steeler (Jack Willis)from this small town. I think there's a Bruce Sorensen in Cambria about 25-30 miles north of here though.
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Dana Blodgett
From Los Osos,Ca.
'74 ShoBud 6140 3+4, Martins HD28,D-12-28, D-15,'65 Gibson LG-1, '77 Gibson Les Paul special dbl cut p-90's, Les Paul Special p-100's,Les paul Special Hybrid(maple top) hbkr's,'68 Fender Strat reissue, Fender Squire Jazz bass,Epi mandolin,Epi Wilshire '66 reissue, Kamaka Concert uke, 70's Kamaka Soprano Uke, Fender Super amp, Ampeg ba112 bass amp,60's harmony banjo,'00 Gibson SG Supreme

Mike Perlowin · From: Los Angeles CA

Barry Blackwood · Posted 9 Jun 2011 5:19 am

Bill, could you explain the phrase, "Perceptiveness of mediocrity" to me, so that I may enjoy it, once I understand what it is. Shocked

Bill Hankey · From: Pittsfield, MA, USA

Mark,

Actually, steel guitar hopefuls who experience a sort of withering desire to conquer after the first two years or so of intensive dedication to the instrument, beyond the starting point, stop to evaluate what has been accomplished. Forever and always, they stop, look, and listen to such greats as the Whites, Blacks, Greens, and the multitudes of colorful players who apparently had risen to greatness through their subsequent enormity of natural talent. For those who cannot prevail as others do, proves beyond question that their niche is unquestionably elsewhere. Hundreds have been known to doggedly pursue every avenue of study presented by proficient and polished players. For example, The Anthology Of Pedal Steel Guitar was published some time ago. For those who believe a goat can destroy a million kilowatt dam, the publication offers the bulk of steel guitar expertise. "I'll Come Runnin'" is one of the featured instrumentals. Good luck with that arrangement by Weldon Myrick. Just my take!

Ned McIntosh · From: New South Wales, Australia

I posted this on another thread in this section, but I'll re-state it to underline a point.

"Accept that when you play, you sound like you; not Lloyd Green, not Hughey, not Rugg, not Franklin...you'll only ever sound like you, so learn to like the way you sound when you play well."

As far as I am aware, there has only ever been one person who sounded exactly like John Hughey, and that was John himself. Ditto Hal Rugg, Tom Brumley, Ralph Mooney and all the others who have set the bar so high, each with their own unique sound. We may get close - very close, sometimes - but we're never going to sound or be exactly like them. Recognising the greatness of these players inspires us. Their mastery of the instrument is reflected by the joy and accomplishment in their playing.

The same goes for our living steel icons and all the others whose unique sound and style give us the inspiration to attack this improbable marriage of precision engineering and luthiery which is called the pedal steel-guitar.

This instrument speaks to something very deep within us. As the logic of the tuning begins to unfold we glimpse, dimly at first but with increasing clarity over time, the musical possibilities contained within ten strings and two dozen printed frets. I admit to still being dismayed by the enormous number of combinations of pedals, levers, bar moves and strings which can produce a pleasing sound, but isn't that a part of the attraction of the instrument too?

How much proficiency is down to talent and how much is down to practice and a good ear is open to debate, but there are rewards for those who develop a realisation that when you play well, the sound of the instrument is a window into how your own mind is reacting to the music.

When mechanical repitition gives way to improvisation, when the fretboard and strings become extensions of your hands, fingers and mind, then you are a very small part of the way along the path to mastering the instrument. Just remember, you sound like you and no-one else. Be satisfied with that and develop your own sound, tone and touch. Make it your signature, and sign your name on your playing.

We may never achieve the touch, tone or emotion of the past masters, but we can take pride in our own accomplishments as we proceed along the journey that we undertake. Exceptional talent helps, but application is paramount. Thousands of hours spent playing, whether for an audience of thousands, hundreds, a few or even an audience of just one, will yield more than raw talent, unless that talent is reinforced with continual and repeated practice.
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The steel guitar is a hard mistress. She will obsess you, bemuse and bewitch you. She will dash your hopes on what seems to be whim, only to tease you into renewing the relationship once more so she can do it to you all over again...and yet, if you somehow manage to touch her in that certain magic way, she will yield up a sound which has so much soul, raw emotion and heartfelt depth to it that she will pierce you to the very core of your being.

Bill Hankey · From: Pittsfield, MA, USA

Barry,

I'll readily admit that I'm the last hope as a perceptive scholar. The phrase was intended to encourage a steel guitar hopeful to satisfy a withering ego by enjoying the well known stages of mediocrity. Playing a musical instrument is not different in terms of variable abilities. Imagine yourself challenging Tiger Woods to a game of golf. I think your mission to understand mediocrity would be well established at the 18th hole.

chris ivey · From: california (deceased)

finally....after millions of words....you said something i like!

'the whites, blacks and greens...colorful players'.

i've thought of that before...

we even have a 'brown and a gray' in our crayon box here in sac.

Scott Henderson · From: Camdenton, Missouri, USA

I would love to play, not challenge, Tiger Woods to a round of golf so I could learn from the best. It's interesting you brought up that analogy. I am a big fan of TW and think it is sad that all that natural talent can't bring him back until his desire to get better, desire to let it go, and the simple desire to just play a game he loves.
What ever you may be doing if you don't have those three key elements natural talent is just a God given gift that's wasted. No... Natural talent is not enough. But when coupled with desire it achieves greatness. And greatness is not measured by money or fame but by your own satisfaction of personal achievment. If you are happy with what you have done with your gift then be happy...Otherwise it's just a bunch of vapor...
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D-10 JCH Dekley U-12 D-8 Magnatone Mullen RP Evans RE 200 profex 2 BJS bars
Dentyne gum (peppermint)

Bill Hankey · From: Pittsfield, MA, USA

Chris,

There are so many ins and outs when it comes down to talent. On any given day, those possessing the willpower to succeed regardless of the drudgeries of repetitious practice sessions, have been known to persevere interminably, while showing a minimum of regard for nourishment or rest. Steel guitar leadership's price tag is much too high for the casual tyro.

Alan Tanner · From: Near Dayton, Ohio

Think of all the natural talent that goes to waste. How would a person know that they could be an outstanding fiddler if they never pick one up. What if a person spends years and thousands of hours practicing the saxophone, but never seems to get anywhere because deep down they are a kazoo virtuoso. Talent is "usually" discovered and nurtured at a young age. There are probably minions of youngsters that "could" become top steelers, but who will never play the instrument due to a. popularity b."Cool" factor c. Cost. When I was a pup, a good many of my friends also took some sort of music lessons. Piano, violin, accordion, etc. How many still play??? Almost none. How many folks take up the accordion today??? Pretty near zero I would guess, due to the same reasons above. I started out at age 8 on the violin. When I was a little older I took lessons from a war immigrant who had at one time been a top violinist in Europe and had been the leader of the Hungarian National Orchestra. A very hard man to take lessons from. However, after years of trying the violin, sawing out Hungarian Dance #5 just didn't get it for me. I took up the guitar and never looked back. AM I a virtuoso or top picker??? NO, and I never will be as I don't have that many years left. I am constantly learning however, and have reached a point where I am comfortable with myself and the instrument....but STILL it's a challenge every time I pick it up. Like somebody else said tho'....just because you know the words to a song, does NOT mean you can sing it.

Charles Davidson · From: Phenix City Alabama, USA

Bill, seems you are saying if you can't play like Bob White or LLoyd Green etc we should not play at all, by the way what does a goat have to do with playing steel Question

YOU BETCHA,DYK?BC.
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Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC !

Bill Hankey · From: Pittsfield, MA, USA

Alan,

Thanks for covering some of the finer points that occur frequently throughout the lives of musically inclined individuals. There never will be "enough time" to satisfy our dreams of attaining some of the finer things in life that beckon our best efforts to overtake a specified goal. Most would be glorious achievements remain just beyond our reach in relation to the music world. Great friendships are staggered and triggered through chance meetings; much like a prized series of discoveries on the pedal steel guitar. It appears at this stage of the game of chance, that zeroing in on specific goals may lead to the most promising rewards.

Charles Davidson · From: Phenix City Alabama, USA

As usual did'nt understand a word you said. But I can say I'm completly satisfied with my playing,Many years ago I realized my limitations and no matter how much I tried I would NEVER be an Emmons,Green,Doug,Bobbe, etc.I enjoy the level I play at,Seems it would be real DUMB wasting the rest of my life trying to be the next Emmons or Seymour.That would make it WORK not FUN. Still confused about what a goat has to do with steel guitar.YOU BETCHA,DYK?BC.
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Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC !

Charles Davidson · From: Phenix City Alabama, USA

Plus,if all of us could play like Emmons,There would be NOTHING special about him right Question

YOU BETCHA,DYK?BC.
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Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC !

Scott Henderson · From: Camdenton, Missouri, USA

One more thing I think we are forgetting is those "guys" who practice 8 hours a day....probably wanted to...It wasn't work to them....
_________________
D-10 JCH Dekley U-12 D-8 Magnatone Mullen RP Evans RE 200 profex 2 BJS bars
Dentyne gum (peppermint)

CrowBear Schmitt · From: Ariege, - PairO'knees, - France

i've noticed many of our heroes have plenty of gimmicks in their bag of tricks

http://www.youtube.com/watch?v=JrhvLmiN-cw

Bill Hankey · From: Pittsfield, MA, USA

Scott,

The following came to mind; I'm not aware of the person's name who once stated,"You can "fool" some of the people, all of the time, but.. you can't fool all of the people, all the time." I'm not even sure if that statement is beyond question. What does make sense to me, are the various inroads to new and exciting techniques that the masters may have stumbled over, before abandoning the temptation to strive for further developments in little known steel guitar enticements. This specified area in terms of creating original techniques, is a good area to work out of for various reasons. Having the ability to go before the supporters of the pedal steel guitar, and introduce sounds that haven't been heard prior to a given performance, will hopefully lead to new opportunities. Whatever it takes to move up from ground level, should be etched in the steel guitar rule book.

Charles Davidson · From: Phenix City Alabama, USA

Bill,you say [no] gimmicks.You must have never listened to any early Buddy Emmons,and would'nt you agree he's a pretty good picker. He loved gadgets,As soon as something new came out he would try it,Ever hear Witches Brew or his use of the E-Bow etc.Maybe that's why he never made it,he relied on too many gimmicks . Whoa!

YOU BETCHA,DYK?BC.
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Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC !

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