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Topic: Unexplored Pedal Steel Guitar Technique |
Bill Hankey
From:
Pittsfield, MA, USA
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Posted 19 Jun 2003 12:53 am |
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Several times I've alluded to the "Five String Grab" as a new approach to playing pedal steel guitar. Not that I'm advocating switching an existing method, but more of hearing from others who may have accomplished this style of playing pedal steel. It became obvious to me, when no replies were forthcoming on the forum, some time ago, that just maybe, this method may indeed warrant some merit. I don't recall seeing anyone walking around of late, patting themselves on the back, and I wouldn't want to be the first to do such a thing. I can truthfully state, that I'm truly interested in learning, by reading threads that develop into informative messages. I'll risk the thread's delicate subject nature, by alluding once again to the "Five Sting Grab" art of playing pedal steel guitar. The index finger's "harmonic swirl" (an original terminology) can be explored, if this thread remains intact, and
proves to be worthy of its ink. A smile, quickly earns a smile in return, and I feel like smiling.
Bill H.
[This message was edited by Bill Hankey on 19 June 2003 at 01:58 AM.] [This message was edited by Bill Hankey on 19 June 2003 at 02:03 AM.] |
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Roy Ayres
From:
Riverview, Florida, USA, R.I.P.
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Posted 19 Jun 2003 1:56 am
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Bill:
You wouldn't be the first! Dr. Hugh Jeffreys plays using all five fingers of his right hand and does some great jazz stuff. Get his album from bOb: Item # CD-HJ01D, $14.00. |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 19 Jun 2003 2:22 am
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Roy A.,
Are you referring to chord melody, or tinkering with individual fingers. Jazz is better played with fewer fingers, to note the Big E or P.F. in concert. If you play the style yourself, it would add credence to what you have offered.
Bill H. |
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 19 Jun 2003 3:51 am
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| Dr. H gets huge chords and also breaks them up in fast partials with all 5 digits. |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 19 Jun 2003 4:26 am
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David D.,
I've been using this technique for over 20 years. It's a small wonder that it will overtake conventional methods eventually. It would be of great interest to learn, who or what brought about the utilization of an unheard of style of playing two decades ago. That is to say, I'm not aware of any material published at that time,that clearly defines the technique. I would be delighted to learn of such publications.
Bill H. |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 19 Jun 2003 4:45 am
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I forgot to mention that the preferred 5-string grab technique does not stem from push-button automation, but rather from long hard hours of practice.
B.H. |
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Roy Ayres
From:
Riverview, Florida, USA, R.I.P.
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Posted 19 Jun 2003 4:58 am
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Bill:
Are you saying that I have to play like someone before I can make a credible statement about his Style?
BTW, where can I find more information about the number of fingers required for jazz? |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 19 Jun 2003 6:09 am
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Roy A.,
Fair play is the most reliable course of action, whenever we venture into a competitive world of music, sports, trust, etc. If an issue becomes excessively disputatious, I try not to ignore facts, such as names, places, or other pertinent data that signifies preponderant proof, of anothers skills in proving a point. I once bet a race car driver in a limited competition race, that my brother would come in first. I lost the bet because, I should have bet that my brother would come in ahead of the one who took my bet. I have no further argument with you. I'll accept your input with great appreciation.
Bill H.
[This message was edited by Bill Hankey on 19 June 2003 at 09:34 AM.] |
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Wayne Cox
From:
Chatham, Louisiana, USA * R.I.P.
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Posted 19 Jun 2003 6:16 am
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I discovered years ago that there are only a few of us using the " 4-finger" technique, much less five. However,that does not mean that I do not advocate 5. Using 5 is the only way I can imagine playing George Shearing style (on steel) without another lead instrument,or overdubs.
~~W.C.~~ |
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Dr. Hugh Jeffreys
From:
Southaven, MS, USA
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Posted 19 Jun 2003 6:34 am
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| To Bill Hankey: My Bio Page says it all (I think)! www.steelguitarbyhughjeffreys.com I developed the 5-finger technique (using a thumb pick and 4 bare fingertips) over 20 years ago. I advertised my book in several international magazines, but the response was somewhat less than the ad costs. Over a period of 2 years, I sold a lot of my books, but not enough. It was a correspondence-type course. It seemed that most players wanted to copy country players via tab. I began playing 4-part harmony back in the 50's with my band, The Atomics. I wrote a clarinet part over me or a tenor sax part below to get a big 5-part sound. By the way, my new book, Sight Reading for Steel Guitarists, C6, is being released this year by my publishing company. I've turned down a lot of other things to get it out.Since my album release 16 months ago, I've had many requests to write arrangements, as well as perform, but not enough time for all that. The SG community seems to be interested in sight reading based on my many eMs. Bill - you can hear a 1:40 min sample on my website. As usual, Best to all you guys. Hugh |
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Dr. Hugh Jeffreys
From:
Southaven, MS, USA
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Posted 19 Jun 2003 6:38 am
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| To Wayne - Jazz pianists typically lay down a 3, 4, or 5 note chord with the left hand, then improvise over it with the right. It's entirely possible on steel. Hugh |
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chris ivey
From:
california (deceased)
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Posted 19 Jun 2003 6:51 am
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| didn't julian tharpe do this type of picking to some degree? he played lots of huge chords. |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 19 Jun 2003 7:18 am
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Dr. Hugh Jeffreys,
I became absorbed in the Alvino Rey sounds of your recording, as well as the lightning-like jazz licks. I'm very impressed, and will be looking at whatever is available in recorded material. I try to be selective, whenever possible, in choosing recordings that I can relate to through melody lines.
Thank you for your input on this thread.
Bill H.
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 19 Jun 2003 8:31 am
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Dr. Hugh Jeffreys,
I neglected to inquire about your tuning. My forte' is strictly E9th chromatic, whereby spanning strings make it impossible to emulate on the 6th tuning. I want to make it clear that I'm speaking of grabs, and not brushings, which is a fairly common practice by players who favor the C6th neck. The method used and advocated is simultaneous picking of 5 strings.
Does this differ from what you are teaching?
Bill H. |
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David Mason
From:
Cambridge, MD, USA
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Posted 19 Jun 2003 9:41 am
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| I've been playing with three fingers and thumb, which is enough to confuse me for now, but I still want to hear all about "the index finger's 'harmonic swirl'"? |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 19 Jun 2003 10:43 am
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David M.,
The "Harmonic Swirl" is quite original. At least I have no reason to believe otherwise. After all it was discovered in the course of seeking out fascinating differences intended to please a listener, who might lend me an ear. After all is said and done, that is my goal, to enjoy the sounds created by the steel guitar in all its glory. The "Harmonic Swirl is part of a branch off the main melody lines, whereby the harmonics are created at 12 frets above any given playing position. The side of the palm of hand is the determining force of clarity, and the "pickless" index finger snaps back and forth over the 1st 5 top strings. The best sounds are created by using the E-F lever for sevenths and diminished sounds, while minors, majors, and natural sevenths are alternated as one progresses up or down the neck.
More later on this playing style.
Bill H.
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John McGann
From:
Boston, Massachusetts, USA * R.I.P.
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Posted 19 Jun 2003 11:40 am
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| I understand Tom Morrell was playing with five fingers as far back as 1972 on the Sextet Sessions recording... |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 19 Jun 2003 2:07 pm
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John M.
Picking with five fingers single note style is so widespread among folksy guitarists, that they are uncountable. Playing chord melody is a whole new ball-game. Its simply unheard of in any of the circuits that I've been viewing.
My friend Randy from New York State can tear up any venue in America, by using 5 picks. On one occasion, he surprised a fellow bass player, when the band played, "My Window Faces The South". He was forewarned by the bassist that he'd better have his 14 string single neck bolted down. When he cut loose, all the jokes flew out the window.
Bill H. |
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Bobby Lee
From:
Cloverdale, California, USA
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Posted 19 Jun 2003 2:28 pm
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I prefer the sound of picks, and I use my pinky for harmonics. Thus, my grabs are limited to 4 strings.
------------------
 Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax |
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Dr. Hugh Jeffreys
From:
Southaven, MS, USA
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Posted 19 Jun 2003 2:36 pm
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| To Bill - Thanks for comparing me to the GREAT ALVINO! That's the greatest of all compliments. I talked to him recently, and he's doing great at 95. What a brain that guy has! You're using some terminology I've not heard of: brushing, swirl? In my method of playing chords,I spread all 5 to get the big piano-type chords (I-V-III-VII-III - maj 7th), and close up to get the Shearing voicing (bottom to top: GACEG), which blends well with other instruments, clarinet, vibes, flute, and even with string ensemble. I've had many inquires en re my tunnings. Recently, a guy from another country ordered my CD and a couple of weeks later he offered me a "blank check" for my tunnings and pedal set-up; i.e., name your price type thing, but I change my tunnings from time-to-time, depending on what I'm working on at the moment. My outside neck is basically an Amaj 7th with a 6th sandwiched in and an 11th. As for my forthcomming sight reading book, I chose the C6th because I felt most were familiar with it, however, if the player knows his/er instrument, any tunning will work. Single string playing technique also comes much easier than with 3 picks. Thanks, Hugh |
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Pat Burns
From:
Branchville, N.J. USA
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Posted 19 Jun 2003 5:01 pm
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| ..I hope you don't mind me butting in, but I just wanted to say that this topic, aside from the interesting material covered, has become conversational in tone and a pleasure to read.. [This message was edited by Pat Burns on 19 June 2003 at 06:02 PM.] |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 20 Jun 2003 2:07 am
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Dr. Hugh Jeffreys,
You are certainly welcome, by all means. It certainly is true, that Alvino Rey possesses that most exciting characteristic contained in the minds of so very few. That is without a doubt, having the ability to present a self-styled program, containing intricate chord progressions, that remain inimitable to this day.
Hugh, in the future, I plan to explore many of your achievements, that feature your superb renditions of musical favorites, and I will be taking notes. Thanks for your kind responses.
Bill H. |
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David Mason
From:
Cambridge, MD, USA
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Posted 20 Jun 2003 2:23 am
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| Dr. Jeffreys, do you write your steel music in both bass and treble clefs, or up an octave like standard guitar notation? |
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Dr. Hugh Jeffreys
From:
Southaven, MS, USA
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Posted 20 Jun 2003 4:56 am
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| Bill - I think your attitude toward the advancement of the SG is wonderful; it's always good to hear from folks like you. To David - I use both the treble and bass clef, also 8va, depending on how big of a hurry I'm in. Usually, I write it like a guitar which sounds 8vb than written. I make my own score paper which consists of 20 staves per page, and do my own arranging, however, I've asked Alvino's chief arranger down at No. Texas State to give me a hand on my present album this year because I don't have a lot of time to spare. Best, Hugh |
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