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Topic: single note line playing |
Bobby Nelson
From:
North Carolina, USA
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Posted 25 Jul 2018 2:21 am |
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| I had been a 6 string player who was very good at what we called "lead" playing - solos. I used a flat pick to do it. Now, I have three finger pics and not frets haha! I'm getting used to grips and two and three note interval playing but, my single note ability is almost nill. I have no ambition to ever play Four Wheel Drive as, I don't ever see Buddy's single note picking style as an attainable thing for me. That being said, is there any advice anybody has to start to tackle this technique? |
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Al Evans
From:
Austin, Texas, USA
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Posted 25 Jul 2018 4:43 am Re: single note line playing
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| Bobby Nelson wrote: |
| ...is there any advice anybody has to start to tackle this technique? |
I assume you're new at it, as am I. I certainly was having that problem a couple of months ago. What changed it was getting firmly in my head the fact that you have to block every note you play in single-string work with something on your right hand. You need to be able to play legato, but have the last note stop before the one you're playing starts.
I'm taking the Paul Franklin course, so I worked hard on the pick blocking technique he teaches -- though I admit I'll block with any spare body part as needed.
Anyway, I practiced hard, and lately I notice it's no longer a problem, so it must have worked.
--Al Evans
_________________
2018 MSA Legend, 2018 ZumSteel Encore, 2015 Mullen G2, G&L S-500, G&L ASAT, G&L LB-100, Godin A4 Fretless, Kinscherff High Noon |
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Ron Hogan
From:
Nashville, TN, usa
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John Spaulding
From:
Wisconsin, USA
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Franklin
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Posted 25 Jul 2018 6:50 am
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Bobby Nelson,
Playing fast is thinking fast. Correct blocking technique is needed for everything slow and fast and the blocking technique is no different for either......Don't sell yourself short but the key for playing anything is to learn a smooth precise blocking technique.
...After muscle memory is acquired for blocking you will be able to play anything at the speed of your thoughts. Like when someone dashes in front of a speeding car, drivers are startled and respond with no thought whatsoever on what their hands, feet, in fact what the entire body does is driven by muscle memory. I will say this Buddy's blocking technique is just as obtainable as any other choice of blocking.....Here's a video from my blog on a blocking technique...
https://paulfranklinmethod.com/tackling-blocking/
I believe all players have to find what's easiest for them to accomplish....In other words learn according to their physicality.
Paul |
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Bobby Nelson
From:
North Carolina, USA
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Posted 25 Jul 2018 12:21 pm
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Thanks a million guys. I have been trying my best with palm blocking for about a year now (first with my 8 string lap, and now with my pedal steel) and, I'm not sure if the carpel tunnel or arthritis is hindering me (or possibly, they are excuses haha) but my hand really doesn't like to bend that way. I have had some success copping Buddy Charleton licks (they seem to make pretty good sense to me) and have found some pretty interesting scale patterns but my execution is a sloppy as it gets.
I will try your Finger tip blocking and see how it works for me Paul.
As soon as I catch up a bit on paying this guitar down a little, I'm going to invest in some instruction - if the doggone rain will stop here in NC haha!
I appreciate everyone's input. |
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Butch Mullen
From:
North Carolina, USA 28681
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Posted 26 Jul 2018 8:06 am
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| Been raining a lot up here in Taylorsville too. Finally had to start playing inside.lol |
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Jeffrey McFadden
From:
Missouri, USA
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Posted 26 Jul 2018 8:24 am
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My suggestion would be that you look at Joe Wright's pedal steel site, pedalsteel.com, and that you find his right hand exercises and practice them.
He has several pages of them in his downloadable book, My Approach to Pedal Steel link http://www.pedalsteel.com/ashop/index.php?product=38
It's an old book and not superbly written, really, but the exercises are excellent, and he has others.
You can play any lead you want if your right hand will obey you. Working 3 (or even 4) separate picks on separate fingers requires different timing than one pick held between thumb and forefinger, but if you can fully control the individual fingers it gives amazing flexibility.
_________________
Well up into mediocrity
I don't play what I'm supposed to.
Home made guitars |
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Bobby Nelson
From:
North Carolina, USA
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Posted 26 Jul 2018 1:08 pm
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Yeah Butch, the rain kills my work and makes me poor - 25 hrs so far this week.
Yeah Jeffrey, I had Joe's bundle on my hard drive that went kaput. I've got Mickey's book and am using it for exercises - guess I'm just wanting too much to happen too quickly.
Thanks fellas. |
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Jim Sliff
From:
Lawndale California, USA
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Posted 27 Jul 2018 9:44 am
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I rarely play any harmonized scale type stuff, and "srips" are a tool to get me in a position for what I DO play.
Almost everything is single line based on banjo-type rolls. I come from the same 6-string background, have no background in theory and "normal" steel playing just doesn't work for me - possibly because it's not my first, or second, or third, or even fourth instrument (I play just about everything with strings).
It's akin to hybrid guitar playing or banjo playing, and translates very well to steel. Yes, it limits what I can do on pedal steel )especially E9 - I'm much better at 8-string B6, which I find far more logical).
But when I was gigging I could do enough and fake enough "hooks" that I had no problem finding more work than I could handle. I would have been run out of town in Texas for not being "authentic", but playing in country rock bands worked out fine.
My point is that if you don't lock yourself into the thought that you have to play like "master" steel players there's a lot of room out there if you just play your own way. Adapt what things you can but - unless you are stuck in a situation where you HAVE to play country pedal steel like "the records" figure out what you CAN play based on your 6-string playing and do that.
_________________
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional |
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Tommy White
From:
Nashville
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Posted 27 Jul 2018 7:12 pm
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| Paul Franklin and The Paul Franklin Method are truly the most significant and in depth correct teachings in my mind. Paul’s playing, knowledge, depth and understanding the complete instrument is at a level only somewhat matched by few masters. Paul teaches with patients for every level without judgement to further knowledge of the instrument. This is what I respect. |
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Bobby Nelson
From:
North Carolina, USA
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Posted 29 Jul 2018 3:47 am
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| Thanks again fellas. I think that "seat time" and right hand drills are my best bet until I can afford some instruction. My thumb is the best thing on my right hand because I used to play a lot of delta blues and studied Wes Motgomery a whole lot. Drilling my other fingers to work in unison with it is helping slowly. I m quickly becoming aware that the bar hand needs a lot of work too. I have started using one of Paul's accuracy drills to get that in working order a little better. Forcing myself to create more "seat time" is going to be the key I think. Thanks again for all the thoughts on this. |
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