Playing backup: Look ma, no pedals!

Bill Brunt · From: Texas, USA

http://www.youtube.com/watch?v=Zisxl5st5x0&feature=relmfu

Quite a few novice types, like my self have expressed an interest in learning this kind of accompaniment.

About 2 minutes into the clip he begins playing backup to a recording.

By the way, I hate it when I hear somebody say "man, that sounds like a pedal steel!"
...so I won't say it.

He has a few videos out there, both E7 and A6 tunings.

Nice homebuilt, too.

He said he learned everything he knows from the Rick Alexander u-tube tutorials.

I'm gonna talk him into teaching a lesson or two if I can.

Ron Whitfield · From: Kaaawa, Hawaii, USA

From a quick overview, he at a minimum - fishtails the bar, keeps a straight index bar finger, has terrible slanting tech, and calls it a non-pedal.
4 very bad habits to avoid.

Bill Brunt · From: Texas, USA

Thanks for the input, Ron.
He is, after all, self taught.

With a little corrective criticism, we can all learn(if not execute) proper bar technique. He is not a member of the forum, but could pick up a ton of good tips here, as well as, in the future, be a contributor.

I was hoping to get one of the great players her (like yourself) to put together a little tutorial consisting of 5 or so (properly executed), yet simple licks for the benefit of us novices.

If I close my eyes, and don't look for proper technique, it sounds like somebody playing backup in a group.
That is what many of us would like to sound like.
Personally, I will never be talented enough to be the headliner at the 'Opry, but I'd like someday, to be able to sit in occasionally, playing unobtrusively in the background.

Any offers on the tutorial?

Mike Neer · From: NJ

Bill, I looked at the video and I can tell you what he is doing is simply outlining the chords with simple triads.
He simply slides into them from 2 frets below.

Now, if I can give a little constructive criticism, there is not enough harmonic movement and melodic content in what he is playing to make it an effective backing;
like I said, he's simply playing the chords rather than responding to the vocals or anything else.

Also, the sliding around is a bit much for my tastes, but these are things that you learn when you spend more time listening to the masters.

Many of us will have that tendency in the beginning, but when you really listen, you start to hear what not to do.

Like Ron mentioned, fishtailing the bar is something to be careful not to do.
You want to move the bar in a straight line up and down the fretboard.

Getting back to the harmonic and melodic stuff--it's important to know how to play chords in other positions.
When you have other positions to work from, you can move up and down the scale, which makes it easier to play melodically.

One cannot say this enough: for beginning steel players wanting to hear how to play backup,
listen to old country recordings, especially Hank Williams--it's all there.
When in doubt, go back to the beginning and follow the masters.
It starts to make sense after a while.

In the meantime, do some serious listening until you know every note the steel player plays--sing along with it.
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Links to streaming music, websites, YouTube: Links

Ron Whitfield · From: Kaaawa, Hawaii, USA

Billy Tonnesen · From: R.I.P., Buena Park, California

If your outside neck is a true A6th tuning ((E C# A F# E C# A F#), try to get a copy of an old recording of "Texas Playboy Rag" played by Noel Boggs with the Bob Wills Band. It will start to give you an insight to how the A6th tunhing was used for the Western Swing Style. Also you refer to your inside neck as a E7th. You might want to consider using a form of the E13th tuning (includes both a 6th and a 7th). There is a whole world of great non pedal Steel Guitar playing outside of trying to sound like a Pedal Steel. Good Luck
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Sacramento Western Swing Society Hall of Fame, 1992

Bill Brunt · From: Texas, USA

Good stuff.
Mike, that whole listening critically thing...
I try, but I find myself doing what I imagine I would be doing if I were the official in a basketball game, enjoying the game - or enjoying the song, in this case.

I start out ok, but it takes discipline to listen critically - It isn't as much fun.
I am working on it, though.
I have begun listening to just phrases, and processing the song a phrase at a time, otherwise there is just too much for the ungifted to digest at one time.

Believe it or not, when trying to "accompany" a song on the radio, everything happens way too fast for me to think and act at the same time.

Your analysis of his sliding into simple triads, or even single or double notes helps, 'cause some structured, repetitive moves will help me work up to being abe to respond to the vocal, or anticipate the next part.

Really, I am just trying to learn, and am having fun learning the tabs I have gotten from you, Herb, and others (Sweetnin' included), but the real challenge will be exactly what you describe - listening and responding and playing all at the same time Shocked

.

I think it may actually be possible, because I have seen others do it, but dadgum, it ain't easy Smile

Thanks.

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