| Author |
Topic: Playing technique: playing down the frets - in tune |
James Sission
From:
Sugar Land,Texas USA
|
Posted 26 Oct 2011 4:44 am |
|
| You might want to contact Ricky Davis through the forum. He has been teaching students how to play in tune by using a drone note and having the student move to all the postions on the neck while keeping the the guitar in tune to the drone note. After a while of doing this, you can pretty much hit the note by feel and it helps eliminate parallax issues as well. Since he is now teaching through a computer via Skype, it may be worth your time and effort to take a one on one lesson with Ricky. It may get you past the issues you are having.....James |
|
|
 |
Ruth Iseli-Dahler
From:
Switzerland
|
Posted 26 Oct 2011 6:13 am
|
|
Once I made a BIAB track to help me playing scales in the circle of fiths - I used this one today with closed eyes, as David suggested. Was surprised that it worked - strange: sometimes I wasn't sure whether to correct up or down. The hearing chances without eye control.
James, I already know who Ricky is, thanks to this forum, and we will meet on skype in november 
_________________
Mullen Pre-RP D10, Emmons D10, Mullen G2 SD10, Dobros |
|
|
|
David Mason
From:
Cambridge, MD, USA
|
Posted 26 Oct 2011 12:37 pm
|
|
| Quote: |
| sometimes I wasn't sure whether to correct up or down. |
You wouldn't believe how many "innovative" and "creative" new licks that has led to.... 
"Just DO something, bar... git somewhere."
A moving note, by definition, can't be out of tune - you're only in or out when you stop. |
|
|
|
Ruth Iseli-Dahler
From:
Switzerland
|
Posted 7 Dec 2011 10:33 am
|
|
Jim,
I finally found time to get into Franklins exercise you sent me the Link for. That's for sure great stuff, I love playing it and listening to it, (I never was boared by evxercises, be it scales or whatever.) This one is very sensual, at least in MY speed
Thanks again for that hint
Time will show whether it helps, I guess it does, I feel saver....
_________________
Mullen Pre-RP D10, Emmons D10, Mullen G2 SD10, Dobros |
|
|
|
Phil Halton
From:
Holyoke, Massachusetts, USA
|
Posted 7 Dec 2011 11:14 am
|
|
Close your eyes, listen carefully, and gauge the distance your arm/hand moves for different interval sizes in a given key - C for example. . I've found that once you have a muscle memory of the movement for a Major second interval, minor third, major third, fourth and fifth, those moves become somewhat automatic. It was pointed out to me quite quickly by someone that the distances travelled for those intervals change with each key. And, while that is true, I have also found that the brain will automatically account for that differential, and in proportion to your attentiveness will do the job remarkably well.
After all, how do blind players (and there are many fine ones with good intonation) manage this problem? Just my two cents worth.
_________________
Disclaimer! I make no warranty on the manure I've been spreadin' around here. |
|
|
|
Ron Randall
From:
Dallas, Texas, USA
|
Posted 8 Dec 2011 9:39 am
|
|
FWIW
The use of reverb, delay, chorus can trick my ears.
R2 |
|
|
|
Henry Matthews
From:
Texarkana, Ark USA
|
Posted 8 Dec 2011 9:57 pm
|
|
This is something that's always puzzled me about bar technique. I know some players that have a really sloppy bar technique and looks like the bar is sideways and never dead center on a fret and yet they sound in perfect tune. Don't understand how that is done. I have to really watch where my bars is or I'll sound like I'm in another key.
Paul Franklin has one of the most positive and accurate bar position as anyone I've ever seen and he's always on the money but he has the technique. What about these that have no technique but still sound dead on. I really have trouble staying in tune at times and other times I don't. I don't understand!!!!
_________________
Henry Matthews
D-10 Magnum, 8 &5, dark rose color
D-10 1974 Emmons cut tail, fat back,rosewood, 8&5
Nashville 112 amp, Fishman Loudbox Performer amp, Hilton pedal, Goodrich pedal,BJS bar, Kyser picks, Live steel Strings. No effects, doodads or stomp boxes. |
|
|
|
Cal Sharp
From:
the farm in Kornfield Kounty, TN
|
Posted 8 Dec 2011 11:02 pm
|
|
It seems to me that issues like this get overly intellectualized sometimes. Nothing against competent instruction or any and all teaching aids, but if you play enough without thinking too much about it, it just comes to you after a while. Maybe that's the long way around, but that's just me. I usually don't RTFM for anything unless I really get stuck in the ditch.
_________________
C#
Me: Steel Guitar Madness
Latest ebook: Steel Guitar Insanity
Custom Made Covers for Steel Guitars & Amps at Sharp Covers Nashville |
|
|
|
Lane Gray
From:
Topeka, KS
|
Posted 9 Dec 2011 12:50 am
|
|
The last time someone told me to RTFM, I did. I had to call back: it had nothing to help me get my router working. It ran on the Serial Bus and the Kama Sutra seemed all about parallel ports
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
|
|
|
Dave Boothroyd
From:
Staffordshire Moorlands
|
Posted 9 Dec 2011 1:30 am
|
|
This is probably cheating, and of no relevance to the pedal steel types, but there is one song that I play steel on with the band which is in G sharp. That means that I need to land on some unfamiliar fret positions.
In the solo, I play a fast scale run down from high G sharp, to G, F, D sharp , C sharp.
With the Black Rajah bar, it was sloppy as far as intonation was concerned. At speed I was over shooting the pitches and playing flat.
So I played it with my glass bar. (from Ian McWee for UK players)
Easy!
The fret lines are not only visible but magnified through the bar. All it takes is a tiny adjustment to the position of my index finger and I can see through the bar.
Practice is the best way, but when time is short, there has to be a plan B.
The glass bar has a ghostly tone which fits the song perfectly too.
Cheers
Dave |
|
|
|
