Shifting Moodiness And Creativity

Bill Hankey · From: Pittsfield, MA, USA

Overcoming an urge to resist the call to practice, and polish some newly discovered "licks" on the pedal steel guitar at times, can be challenging, due to shifting moodiness. What does it take to set everything else aside for the moment, and pick up again where you left off?

Ian Finlay · From: Kenton, UK

Great question! I find doing anything else - doing chores, walking the dog, whatever.. and listening to music at the same time - gets me going again.

Bill Hankey · From: Pittsfield, MA, USA

Ian,

The most interesting revelation in connection with practicing on the PSG, is how much we are apt to underestimate our true abilities. That is the basic reason for keeping up on regular practice sessions. Slacking off or cutting sessions short will seldom advance a player beyond an intermediate level of playing. Finesse is very demanding.

Larry Behm · From: Mt Angel, Or 97362

Unless I have a specific lick to learn for a song I find I do not spend as much time at the steel as I might should. I tend to play (on the job) down the middle of the road no tricky licks I can not do at an instants notice. Lazy on my part but works for me and the band, thus no guilt trip on my part.

It is fun to learn new things no doubt but if I do not use them (old timers) then I feel like I kind of wasted my time. Kind of a two edged sword.

Larry Behm
_________________
'70 D10 Black fatback Emmons PP, Hilton VP, BJS bars, Boss GE-7 for Dobro effect, Zoom MS50G, Stereo Steel amp, Telonics 15” speaker.

Phone: 971-219-8533

Bill Hankey · From: Pittsfield, MA, USA

Larry,

There are no greater rewards in store for the steel guitarist, than the discovery of a new lick, one that may never have been played before. Upon discovering such a lick, satisfaction for hours of practice, restores the all-important confidence in one's abilities to move forward to higher levels of learning the instrument's multitudes of variables.

Bo Borland · From: South Jersey -

The answer is plain and simple and it doesn't need 27 pages of posts.. ask Johnny Cox.. it's dedication and desire.
More playing and less of everything else.

Bill Hankey · From: Pittsfield, MA, USA

Bo,

Yes, I know... and its also a matter of the individual who is destined from birth to succeed. Buddy Emmons would be a fine example of such a musician who perceived but one musical goal. Play the pedal steel in a manner deserving imitation.

Bill Hankey · From: Pittsfield, MA, USA

Could it be possible that influential profiles who make comments alluding to common lesser commitments by those who contrary to assumed dedication to the instrument of choice, are in actuality far behind in paying their dues? It may be reasonably anticipated that the majority of this membership is swayed like wheat in the winds of a hurricane by such commentary. The profound effects of comments made by uppermost constituencies seems to bring about a dampening result, consequently abruptly nullifying the lesser musician's suggested commentary.

Bob Simons · From: Kansas City, Mo, USA

Maybe instead of "practicing licks" you should play music. It is refreshing!
_________________
Zumsteel U12 8-5, MSA M3 U12 9-7, MSA SS 10-string, 1930 National Resonophonic, Telonics Combo, Webb 614e, Fender Steel King, Mesa Boogie T-Verb.

Barry Blackwood · Posted 22 Feb 2012 6:48 am

Georg Sørtun · From: Mandal, Agder, Norway

Bill Hankey · From: Pittsfield, MA, USA

Georg,

Trying to decide the playing levels of various players is much to difficult to fathom. There are no easy set rules that apply to any particular player. Nine times out of ten, an average player is further advanced than a curious onlooker may perceive through ears and eyes evaluations. There are closet players who could make eyes bulge, by stepping into the limelight.

Georg Sørtun · From: Mandal, Agder, Norway

Bill Hankey · From: Pittsfield, MA, USA

Georg,

For me, the enthusiasm to pursue an extended learning process, comes in waves of interest that are motivated by the music played by others. I had previously listened in to the backup provided by Dicky Overby,(Sp.) featured on Amber Digby's recordings. Then, prior to Dicky's great support, Paul Franklin "nailed" it, playing the "fill" for Dawn Sears' recording, "If You're Gonna Do Me Wrong, Do It Right". Inspiration brings about those challenges to improve my techniques, and their masterly playing does it for me. I can fuel up my enthusiasm for practice by clicking on their performances.

Bill Hankey · From: Pittsfield, MA, USA

Putting more emphasis on practice sessions, rather than gazing about one's surroundings, whether in a dance hall or in transit to a specified booking, is essential to moving forward on the pedal steel. The fact of the matter would certainly be that practice stems from, and originates in circumstances involving a player with some degree of confidence. Clones on the instrument are numbered in the hundreds. Practicing originality is a whole and entirely new "ball game". The would-be Emmonses are spread from continent to continent. Originality was never more in demand. If a player through hours of dedicated practice sessions could move away from that universal style of playing pedal steel, we could advance into a new era of stylistic playing. One of the common beliefs prevailing, is the belief that there is an ultimate player, far superior to all the rest. That belief should be scrubbed. Who knows for sure what the ultimate player of the future will be capable of doing?

Barry Blackwood · Posted 23 Feb 2012 7:36 am

John De Maille · From: On a Mountain in Upstate Halcottsville, N.Y.

Most, if not all of us, have learned our prowess on the steel from listening to the masters. It's how we learn and grow. Our hero's, masters, have spent endless hours honing their craft to get where they are. I, we, must do the same. Personally, I live, breath and bleed steel guitar. It's truly my world, but, there are times, that, I just don't want to play and there are times when I can't get enough. And, yes, I'll admit it, I'm a very moody person and that reflects on my steel playing. It gets to be a personal rut for me. Usually, I walk away for a while and take a brake so I can clear my head. I make a habit of recording my sessions in order to listen to what I did last. Sometimes it's enlightening and other times it's just droll noodling. Many factors are in effect here, such as, my health, how my steel is sounding and my attitude. But, the best aspect of continuous playing is being able to add my own style to what I'm trying to accomplish and that comes with hours of seat time.
I don't know if I answered any questions here. I'm just adding my opinion.

Bill Hankey · From: Pittsfield, MA, USA

John De Maille,

I will always remember your prowess on the pedal steel guitar. You left a lasting impression while playing at the ITAM LODGE, last May. You are one of my favorite players in this area. I think of your performance often, knowing that players playing at your level, are far and few between. I realize that moodiness can be a problem, and the keen edge that hungers for a higher level of playing, is difficult to maintain. Thanks for your interesting comments.

Bo Legg · Posted 23 Feb 2012 11:23 pm

A topic no doubt of predilection by the intelligentsia to engage in the manifestation of prolix exposition through a buzzword disposition form of communication notwithstanding the availability of more comprehensible diminutive alternatives.

Johnny Cox · Posted 24 Feb 2012 3:30 am

Hey guys, I'll chime in.
Bo, practice is key. When I was younger and much more inspired I practiced every minute I could spare. As did Buddy and all of our ither heroes.
I was very fortunate that my parents moved to Nashville when I was 10 years old. I was in the thick of things in 1967. I was 12 really before I had a pedal guitar and knew any of the really good players. When I did I got to hand out at the old Sho-Bud store. Shot or Harry Jackson would always corr
al some steel player that had come in to buy strings or something to show me a lick. That was so great, but it was always up to me to go home and practice the lick and fugure out how to use it.
Buddy told me that he always practiced for hours daily
_________________
Johnny "Dumplin" Cox
"YANKIN' STRINGS & STOMPIN' PEDALS" since 1967.

Bill Hankey · From: Pittsfield, MA, USA

Johnny,

Thanks for echoing the importance of regular extended practice sessions. Very few writers on this forum could ever relate earlier experiences with such significance as rubbing elbows with Harry Jackson, or Buddy Emmons. Your recall of earlier experiences in Nashville are very interesting. It is very generous of you to share some of your beginnings as a struggling student of the steel guitar. You are living proof of what can be accomplished through prolonged practice sessions.

Bill Hankey · From: Pittsfield, MA, USA

Bo Legg,

Don't I wish! Your comments reminds me of the reputed exchange made by Webb Pierce, when he responded to Ray Stevens' claim to fame. It was all quite innocent, and chock-full of humor.

Bill Hankey · From: Pittsfield, MA, USA

Trying to ascertain how some musicians make it to the top, while others fall behind, and eventually fade out of the limelight, is an inexplicable phenomenon. For as long as I've pondered unusual events, such as favorite artists disappearing by choosing another way of life, only one logical explanation seems to make sense. They say a rose by any other name, etc. etc. I don't agree with that common deduction. A rose by any other name, wouldn't smell as sweet to me. I've noticed over the years, that names become a powerful influence in the way a person judges the subject. MARION TRY SLAUGHTER, better known as VERNON DALHART utilized roughly 135 pseudonyms during his singing career. He was the first country singer to sell a million records. He ended working as a night clerk at The Barnum Hotel, in Bridgeport, Connecticut-all but forgotten, except by a few fans.

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