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Topic: Palying two part harmony on PSG? |
Don Ricketson
From:
Llano, Texas
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Posted 22 Nov 2013 7:28 pm |
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What is the trick to playing good two part harmony?
_________________
GFI D10-8/6 Black/Red
Zum Encore 4/5 Red
Justice ProLite 3/4 Black
2-Nashville 112
"Making The Stars Shine" |
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Ray Montee
From:
Portland, Oregon (deceased)
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Posted 22 Nov 2013 10:12 pm Confused...........?
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Do you mean with another instrument; or,
With oneself? |
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Mike Perlowin
From:
Los Angeles CA
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Posted 23 Nov 2013 12:20 am
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One way is to use the B and C pedals, and play strings 4 and 6.
Here is a harmonized G major scale. The melody is on string 4, the harmony is on string 6.
3 3B&C 5B&C 8 10 10B&C 12B&C 15
_________________
Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin |
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chris ivey
From:
california (deceased)
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Posted 23 Nov 2013 12:23 am
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by oneself, you should get a handle on basic harmonized scales, which come naturally to pedal steel. then you've got to pick a direction with your notes of choice, keeping the correct harmony note with it. melody is always a good place to start.
edit..as mike said while i was typing. |
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Lane Gray
From:
Topeka, KS
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Posted 23 Nov 2013 12:38 am
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As a general rule, try to avoid voicings of fourths and fifths, or put another way (different rule but same concept); one of the two notes should be 3, 6, or 7.
If you have good ear training, listen to the Louvins. Play like they sang.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Don Ricketson
From:
Llano, Texas
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Posted 23 Nov 2013 6:06 am
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Sorry, I should have made it more clear. I mean steel with another instrument like lead guitar. Seems like some players can jump in and play second or third part to anything with ease.
_________________
GFI D10-8/6 Black/Red
Zum Encore 4/5 Red
Justice ProLite 3/4 Black
2-Nashville 112
"Making The Stars Shine" |
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Dick Sexton
From:
Greenville, Ohio
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Posted 23 Nov 2013 6:11 am Good subject...
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| I'm all ears! |
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Lane Gray
From:
Topeka, KS
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Posted 23 Nov 2013 7:03 am
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Listen analytically to the melody line til you can play what s/he plays.
Since the E9th neck is laid out so perfectly (or nearly so) diatonically, you can mirror that line either:
one or two strings up, playing the same scale distances apart, or close to it, or;
Play it on the same strings the next position up, using the AB or D# lever positions, since the AF doesn't offer the same melodic opportunities.
It helps to listen analytically to what the other people play most of the time, all of us rely on the same basic sets of licks; within a beat or two, most of us give away where we're going for the next couple bars.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Don Ricketson
From:
Llano, Texas
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Posted 23 Nov 2013 9:22 am
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Back in the 50's and 60's and even 70's We played a lot of Bob Wells stuff with parts, but I usually played first part usually on one string and the fiddle player would grab a second part and the guitar player would grab maybe a third, but we rehearsed a lot back then and we would have the phrasing down pat. Seems like now days lots fiddle and guitar players can just come in with whatever I'm doing and it sounds pretty danged good without any rehearsing. I've heard two or more steel players sound great playing parts together at some steel shows that leads to my original question that mainly I don[t know how to do it. 
_________________
GFI D10-8/6 Black/Red
Zum Encore 4/5 Red
Justice ProLite 3/4 Black
2-Nashville 112
"Making The Stars Shine" |
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Dick Sexton
From:
Greenville, Ohio
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chris ivey
From:
california (deceased)
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Posted 23 Nov 2013 9:50 am
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for me it would take lots of sitting down and practicing: playing along with recorded solos or with a guitarist friend. practice in the style of music you will be working with.
western swing players have done it so much it just comes naturally. tiny moore was a master at it. merle haggard's members have a natural ability to fall into it in an instance.
i saw tiny in the studio several times go out and lay a fiddle line down, sit down and scribble a few notes, then get back up and lay a 2nd and 3rd part on top of it all. he made it look so easy.
but mainly it is experience and familiarity with a certain style. |
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Don Ricketson
From:
Llano, Texas
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Posted 23 Nov 2013 10:15 am
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Yeah, that's my kind of music Dick. I suppose that's Gary Carpenter on that Rains steel. What they were playing on "Kind of Love" is basically what I was referring to. I noticed Gary had first part tho and the fiddle had second. I've never had any trouble with the first part it's always second and third I can't seem to grasp.
_________________
GFI D10-8/6 Black/Red
Zum Encore 4/5 Red
Justice ProLite 3/4 Black
2-Nashville 112
"Making The Stars Shine" |
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Dick Sexton
From:
Greenville, Ohio
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Posted 23 Nov 2013 11:16 am Jerry Webb Band...
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From the bands web page: "In addition to Jerry on vocal, the band is comprised of the very talented album producer, Ron Stafford, playing his Rains steel guitar and acoustic guitar. The very popular Reggie Rueffer plays fiddle and does background vocals. Also doing background vocals is super electric guitarist, Billy Martin. Derrick Speigner is the drummer, Chad Rueffer plays bass guitar and Chip Bricker plays piano and is the engineer."
http://www.jerrywebbmusic.com/index1.htm |
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chris ivey
From:
california (deceased)
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Posted 23 Nov 2013 3:48 pm
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as lane mentioned in another thread, and in the haggard/strangers case, alot of it is intuitive. someone you play with alot can just throw a harmony onto your lead whether it's worked out or not.
i got good at saying to one of my favorite guitarist friends, 'here's an idea, play something with me on it'. that way the work was all on him...i already had my part!
...same as don says in this thread. |
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Lane Gray
From:
Topeka, KS
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Posted 23 Nov 2013 6:11 pm
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If your mate plays the same ride the same way, record it. Take it home and either:
learn it and find the harmony part to what you've learned, or;
find the starting note, and just go straight to finding the harmony. If you've spent much time on harmonized scales, here's where you put it to use. Your buddy is on one of the notes, you play the other.
But until you put the melody in your head, finding the harmony remains hard.
If you do the above a few times, it gets easier because you've learned how to do it.
It's better to learn how to create them than just learn harmony parts by rote.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Ray Montee
From:
Portland, Oregon (deceased)
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Posted 23 Nov 2013 8:46 pm Just some background info'.....................
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Anyone that has spent any amount of time listening to JERRY BYRD.......are fully aware of how he would routinely switch around during a two guitar run.
He might start on the lead note and at some point thereafter, Jerry would easily jump over for the harmony notes and quite possibly, back to the lead note before the passage ends.
It keeps the music lively and minimizes the hum-drum. |
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