| Author |
Topic: Lap Steel Teacher C6 (Country, Hawaiian, etc.) |
Mark Helm
From:
Tennessee, USA
|
Posted 27 Jul 2017 12:11 pm |
|
RE-posted above. Just need a teacher in the Nashville area.
_________________
Remington Steelmaster S8 w/ custom Steeltronics pickup. Vox MV-50 amplifier + an 1940's Oahu cab w/ 8" American Vintage speaker. J. Mascis Fender Squire Jazzmaster, Hofner Club bass, Ibanez AVN4-VMS Artwood Vintage Series Concert Size Acoustic Guitar. 1920s/30s Supertone Hawaiian-themed parlor guitar. Silvertone parlor guitar.
Last edited by Mark Helm on 27 Jul 2017 5:45 pm; edited 2 times in total |
|
|
 |
Doug Beaumier
From:
Northampton, MA
|
Posted 27 Jul 2017 12:30 pm
|
|
| Quote: |
| Al Perkins passed...said he didn't think he'd be a very good teacher. What?! |
That makes perfect sense. The best players are not the best teachers, and the best teachers are not the best players. Teaching is a different kind of skill. It's all about explaining things in a simple, easy to understand way. A good teacher needs to be able to break down techniques and demonstrate them slowly and patiently. Most hot shot players don't have the patience for that or the interest in doing it.
35 years ago I went to a Buddy Emmons/Jeff Newman C6 weekend at Jeff's school in Nashville. Hanging out with Buddy and hearing him play his amazing riffs and improv on C6 was inspirational... but I learned 10 times more from Jeff Newman that weekend. He clearly explained what each C6 pedal did and he gave us a booklet of standard swing patterns, chord changes, and some basic scale riffs. Very usable stuff explained very simply.
_________________
My Site / My YouTube Channel
25 Songs C6 Lap Steel / 25 MORE Songs C6 Lap Steel / 16 Songs, C6, A6, B11 / 60 Popular Melodies E9 Pedal Steel |
|
|
|
Stefan Robertson
From:
Hertfordshire, UK
|
Posted 27 Jul 2017 9:23 pm
|
|
In all fairness Doug.
Buddy did say and speak about pockets time and time again because he was not formally trained in music/researched enough about it.
He ear trained tons. So he knew where and how to find what he wanted but couldn't explain it. So that means how can he be expected to relay that info to other musicians easily.
Whereas someone who knows music can say "Oh I play a Phrygian #9 with a passing chromatic when I play a m7 in a 2-5-1 and as its cycling back to the 1 I usually play a Dominant Bebop scale.
I think Steel guitar and its approach could really open up if someone studied his "pocket playing" and explained it in musical terms. As I am noticing a repeated pattern to his playing but haven't myself spent the time to explain or transcribe it.
Whereas Jeff and his wife had a school that used to teach steel guitar and music theory.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
|
|
|
Mike Neer
From:
NJ
|
Posted 28 Jul 2017 3:44 am
|
|
| Doug Beaumier wrote: |
That makes perfect sense. The best players are not the best teachers, and the best teachers are not the best players. Teaching is a different kind of skill.
|
Doug, I agree a lot with my that and if I could elaborate on it, I think that in the case of players who don't teach well, their heads are in a different place. Like maybe when they do teach you something, it comes from a really deep place, like something they have discovered or used that unlocked something in them. It may not even be something digestible by anyone else, just a unique perspective on creating music. And sometimes it's difficulty in communicating (though I have say, I haven't met too many solid musicians who weren't good communicators).
I love to teach, but it has to be when my head is in that place where I can give a meaningful, inspiring lesson. Most of the time I'm trying to figure out stuff for myself.
_________________
Links to streaming music, websites, YouTube: Links |
|
|
|
Doug Beaumier
From:
Northampton, MA
|
Posted 28 Jul 2017 4:39 am
|
|
| Quote: |
| Jeff and his wife had a school that used to teach steel guitar and music theory. |
Actually, Jeff didn't use much theory in his teaching. He taught in a very folksy, good-ol'-boy way. Like Buddy, he had no formal music training. He used the Nashville Number System and he taught harmonized scales and how to use them to create intros, fills, etc, but he didn't use many musical terms. He used his own diagrams and of course, he used tablature, no notes. Jeff was a great communicator though. He explained things in such a simple, easy to understand way, and much of what he taught has stayed with me to this day.
Mike, I agree that some good players teach "inside" stuff that they've discovered, and students may or may not grasp it. I've been teaching beginners for so long, I try to teach and explain things in a way that they will understand. I guess it depends on who the student is and how advanced he/she is. It's not too often a student comes along who wants to know how and where to play modes or how to play altered chords in various positions! It's mostly beginners learning basic playing techniques, chord positions, timing, playing to tracks, major scales, simple songs, etc.
_________________
My Site / My YouTube Channel
25 Songs C6 Lap Steel / 25 MORE Songs C6 Lap Steel / 16 Songs, C6, A6, B11 / 60 Popular Melodies E9 Pedal Steel |
|
|
|
George Piburn
From:
The Land of Enchantment New Mexico
|
Posted 28 Jul 2017 5:33 am Buddy - Jeffran C6 Clinic
|
|
I also attended the Jeffran - C6 Clinics out west with Buddy -
1st off , Buddy knew every note name and theoretical scale and so on far beyond every one that hangs on this forum. He was accepted to Berklee School and choose to not go because his recording career and performance career was too far along.
The Clinics were set up in a way that Buddy wrote and played all of the examples while Jeff did the white board pointing explanations as a team approach. They said time and time again it is their way to present and reinforce the education in as many ways as possible.
The Tabs we all got to experience and keep to add to our individual education are loaded with the Augmented - Demented and Phrygian positions Stefan and others hunt and peck to figure out. We spent hours daily going over advanced 2-5-1 and so many more jazz progressions and how they lay out on the C6 Neck.
Steel Guitar players that find a value in all of the cerebral theory - naming all of the scales and so on will benefit greatly from folks like Stefan taking the initiative to lay it all out in a written form.
In the mean while everyone else will be using their education and experience to getting on to the task of Playing Music doing recordings and teaching as Buddy and Jeff told us to do.
For those of us blessed to have been exposed to these limited experiences with Jeff - Buddy and others that taught via Jeffran, it has become an obligation to the Art Form to educate future generations of steel guitar and we all do.
Stefan's desire to further steel guitar education is commendable and inspirational -- keep it going we need the New Blood.
I apologise for adding to the talk about all of this past teaching, it important to me to keep the history as correct as possible.
_________________
GeorgeBoards S8 Non Pedal Steel Guitar Instruments
Maker of One of a Kind Works of Art that play music too.
Instructional DVDs
YouTube Channel |
|
|
|
Doug Beaumier
From:
Northampton, MA
|
|
|
|
Stefan Robertson
From:
Hertfordshire, UK
|
Posted 28 Jul 2017 6:45 am
|
|
Ahh my mistake.
I thought that it was that Buddy didn't do the music theory route. As I have often read about his inability to sight read which is a different issue.
But I guess we can all agree that he knew the notes he was playing.
I'm intrigued now even more as I know to even be considered by Berklee your music reading skills have to be on point as well as note knowledge.
I am aware Doug Jernigan did a Berklee course (maybe that's where I should focus some attention on) but I didn't know Buddy was on their list as well.
Thanks for the encouragement I am from an IT background where I find it easier to understand how and why as it sticks and works for me and thus becomes easier to pass on a clear description rather than string grips and just key.
For example when dealing with Chord melody arrangements and voicings or scales. But I agree some (not sure why) don't want to know why or how.
Ah well making music is meant to be enjoyable first and then all the rest after. But I do find learning the theory really beneficial to ALL. Cause then you can transfer it to any instrument or tuning. The concept is a constant. So why not just learn it.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
|
|
|
George Piburn
From:
The Land of Enchantment New Mexico
|
Posted 28 Jul 2017 9:52 am Back to the OP Question
|
|
Back to the OP Question
I suggest you get some on line lessons from Troy and others
then graduate to SKYPE both John Ely - and Alan Akaka.
This will get you there the fastest from proven Lap Steel Teachers.
_________________
GeorgeBoards S8 Non Pedal Steel Guitar Instruments
Maker of One of a Kind Works of Art that play music too.
Instructional DVDs
YouTube Channel |
|
|
|
Andy DePaule
From:
Saigon, Viet Nam & Springfield, Oregon
|
Posted 29 Jul 2017 8:29 am My bad
|
|
My bad, years ago I took some basic theory classes given by the famous Bobby Hutchinson (Jazz Vibes Player) at a Jazz club in San Francisco.
They were giving those on Saturday afternoons and gave us so much more than I could take in at the time.
Best part was how they explained how all the kinds of chords with detailed explanations of how they worked and when you may want to use them.
I attended about 4 or 5 of the classes and learned a lot including what someone here referred to as the Nashville number system. The Jazz guys used that too.
In all those classes I never hear of a chord like these "Demented and Phrygian"?
I saw that "Demented" mentioned by Erv a few months back, and thought he was joking?
So here is my question;
What the heck are those chords and how and when would we use them?
Thanks in advance for any help there,
Andy
_________________
Inlaid Star Guitar 2006 by Mark Giles. SD-10 4+5 in E9th; http://luthiersupply.com/instrument-gallery.html
2017 Mullen SD-10, G2 5&5 Polished Aluminum covering. Custom Build for me. Great Steel.
Clinesmith Joaquin Murphy style Aluminum 8 String Lap Steel Short A6th.
Magnatone Jeweltone Series Lap Steel, Circa 1950? 6 String with F#minor7th Tuning.
1956 Dewey Kendrick D-8 4&3, Restoration Project.
1973 Sho~Bud Green SD-10 4&5 PSG, Restoration Project. |
|
|
|
Andy DePaule
From:
Saigon, Viet Nam & Springfield, Oregon
|
Posted 29 Jul 2017 8:35 am My bad
|
|
My bad, years ago I took some basic theory classes given by the famous Bobby Hutchinson (Jazz Vibes Player) at the Both Ends Jazz club in San Francisco. That would have been about 1973, Sadly, I saw that Bobby passed away not long ago.
The class was also taught by a Trumpet player who's name I don't recall.
They were giving those classes for aa small charge on Saturday afternoons and gave us so much more than I could take in at the time.
Best part was how they explained how all the kinds of chords were built with detailed explanations of how they worked and when you may want to use them.
I attended about 4 or 5 of the classes and learned a lot including what someone here referred to as the Nashville number system. The Jazz guys used that too.
In all those classes I never hear of a chord like these "Demented and Phrygian"?
I saw that "Demented" mentioned by Erv a few months back, and thought he was joking?
So here is my question;
What the heck are those chords and how and when would we use them?
Thanks in advance for any help there,
Andy
_________________
Inlaid Star Guitar 2006 by Mark Giles. SD-10 4+5 in E9th; http://luthiersupply.com/instrument-gallery.html
2017 Mullen SD-10, G2 5&5 Polished Aluminum covering. Custom Build for me. Great Steel.
Clinesmith Joaquin Murphy style Aluminum 8 String Lap Steel Short A6th.
Magnatone Jeweltone Series Lap Steel, Circa 1950? 6 String with F#minor7th Tuning.
1956 Dewey Kendrick D-8 4&3, Restoration Project.
1973 Sho~Bud Green SD-10 4&5 PSG, Restoration Project. |
|
|
|
Former Member
|
Posted 29 Jul 2017 11:07 am
|
|
Mark,
Jeff Kearns lives in Nashville. -He's a serious student of
John Ely, as I try to be.. Don't know how to get in touch with him, but he is a SGF member.
I say going with John right from the start would be great!
He'll save you lots of time, and has beginner materials.
I need to be a better student! Never had much in the way formal training in anything, so I have to realize what's going on..
If I'd just follow along and listen more and talk less... I torture that poor guy,(with stupid Sht)
Getting lessons and really learning is something to reflect on |
|
|
|
Mark Helm
From:
Tennessee, USA
|
Posted 4 Aug 2017 7:43 pm Thanks to Ron Ellison!
|
|
Ron:
I hooked up with Jeff Kearns today, who was gracious enough to take me on as a student. He's a fantastic, natural born teacher and I had a blast hanging out in his studio surrounded by his amazing lap steel collection.
What's great about Jeff is his genuine enthusiasm for the instrument and the most authentic playing, beginning with the Hawaiians and straight to Jerry Byrd. I think today was the beginning of a great trip down the lap steel rabbit hole.
If you haven't hear Jeff playing lately, check this out:
https://www.youtube.com/watch?v=o5m3FwufmAY
_________________
Remington Steelmaster S8 w/ custom Steeltronics pickup. Vox MV-50 amplifier + an 1940's Oahu cab w/ 8" American Vintage speaker. J. Mascis Fender Squire Jazzmaster, Hofner Club bass, Ibanez AVN4-VMS Artwood Vintage Series Concert Size Acoustic Guitar. 1920s/30s Supertone Hawaiian-themed parlor guitar. Silvertone parlor guitar. |
|
|
|
