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Topic: Technique- The Key To Success |
Bill Hankey
From:
Pittsfield, MA, USA
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Posted 9 Dec 2003 2:58 am |
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Behind every success story, expect to find a technique that made it possible to reach a goal. My reference is basically aimed at overcoming something that seems too difficult to accomplish, in terms of musical endeavors. A recent "discovery" has prompted me to rouse the memoirs of S.G.F.M., while hoping that others may wish to comment on this thread.
Bill H. |
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Tony Prior
From:
Charlotte NC
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Posted 9 Dec 2003 4:52 am
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Bill..Sometimes technique is more of an understanding of whats expected, realizing it and doing it..simply put..rather than being a brilliant musician capable of playing every song in 12 keys with proper chord substitutions every step of the way..
Jeff Newman once told me, In a seminar with about 50 other young Steelers ..
"Now that you know how to play, learn when not to play". I think this is a technique of equal value to the theoretical knowledge, and a technique that many fail to ever learn as well..
Once you learn it and put it into practice it's something you never forget...it's as important to the total package as playing in tune.
T[This message was edited by Tony Prior on 09 December 2003 at 04:55 AM.] |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 9 Dec 2003 6:18 am
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Tony P.,
I'm sure you've heard those words uttered by many other discreet steel guitarists, who like Jeff N., are exceedingly hampered by a lack of self-discipline in fellow players, who choose to unwisely play over the melody lines of accomplished performers. As you have stated, the accurate tuning of instruments is not always carried out, thus creating a discordance of sounds, which can be devastating to the positive outlook of those who are striving for a totally harmonious sound.
Bill H. |
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Pat Burns
From:
Branchville, N.J. USA
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Posted 9 Dec 2003 8:53 am
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...I've developed a unique technique (no tongue in cheeque!)...
..at practice time, when skill I seek,
and flesh is strong, but will is weak,
and all those notes just look like Greek, all hope of progress seems so bleak..
..I don't fret, and I don't freak,
I close my eyes, don't talk, don't speak,
then in my head I poke and tweak each note
and phrase, each chord I seek,
and just lay off from week to week, until my skills begin to peak...[This message was edited by Pat Burns on 09 December 2003 at 04:24 PM.] |
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Bengt Erlandsen
From:
Brekstad, NORWAY
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Posted 9 Dec 2003 11:10 am
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There is one technique that might work to reach a goal and that is to not give up. Hopefully one day you will wake up and everything that seemed to be impossible yesterday is so easy that you will be wonderin why you didnt do like that in the first place. Nothing is impossible, it just takes a little longer time.
Bengt Erlandsen |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 9 Dec 2003 1:54 pm
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Pat B.,
There once was a musical giant,
whose name was Jimmy Bryant,
he could pick "Arkansas Traveler" at a tempo that would be a big challenge for any steel guitarist. He is a hard act to follow, easily immobilizing a straight steel player, necessitating having to resort to half time, on the steel breaks. It is possible to bring up the tempo, to the rate of BPM of his original recording. The answer is quite simply; technique. Unlocking the secrets of his great speed picking techniques, would be an excellent starting point, to learn first-hand his spirited technical approaches. Jerry Byrd's harmonics most assuredly would detain the proficient student, who will be burning the midnight oil, in hopes of capturing his technique. The driving force is to unlock just one technique, of a particular master musician. From that point, the impetus and realization gained, will restore the confidence which would make similar gains a greater possibility.
Bill H.
[This message was edited by Bill Hankey on 10 December 2003 at 03:49 AM.] |
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Pat Burns
From:
Branchville, N.J. USA
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Posted 9 Dec 2003 4:36 pm
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...indeed...I would never have progressed at all without training in technique gained from instructional material such as Joe Wright's and others, and without some hands-on lessons to correct bad technique and re-inforce good technique..
..I'm not ashamed to admit that I steal (or buy) as much knowledge as I can by watching good players...guess that's why they call it steel guitar!...[This message was edited by Pat Burns on 09 December 2003 at 04:37 PM.] |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 10 Dec 2003 12:07 am
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Pat B.,
Isn't it handy to just squeeze out from $30 to $50 to "steel" into an advanced players technique? Two great publications culminating from the work of Winnie Winston, and DeWitt Scott, will provide instructional material from beginner to stardom level. I want to thank you for for the humorous responses, that tend to be indicative of a great wit. Please let me know if you know of anyone who has tabbed out Jimmy Bryant's "Arkansas Traveler". If the tempo has been changed to "moderato", I'm definitely not interested. I'm not surprised at the existing "lull" created by a thread that has the potential to build steadily, and provide valuable information to steel guitarists. Having established that the providers of the constant influx needed to build a diversified thread, (one of many interests), is lacking responses, and it has become problematic. With so many writers introducing new threads, it is impossible to make good solid points.
Bill H. (Ed. for Misspell)
[This message was edited by Bill Hankey on 10 December 2003 at 07:59 AM.]
[This message was edited by Bill Hankey on 10 December 2003 at 03:13 PM.] |
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Pat Burns
From:
Branchville, N.J. USA
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Posted 10 Dec 2003 10:59 am
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| ..it's a byproduct of the email age -information overload, scan it and move on to the next item...not that this comment has anything to do with steel guitar, but here's a bump for you, anyway.. |
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Mark van Allen
From:
Watkinsville, Ga. USA
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Posted 11 Dec 2003 10:44 am
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Perhaps the reason you're not seeing too many responses here, Bill, is because one of the few things all of us can agree on is that the more technique we have, the better off we are! I think Steel Guitar itself can be the perfect metaphor for tackling the difficulties we face in life, and through study, application, and discipline, becoming more evolved persons. I for one, find the most exciting thing about the study of Steel guitar to be the limitless challenge- always something new to learn, always something rewarding just around the corner. Plus it keeps me off the street...
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Stop by the Steel Store at: www.markvanallen.com
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Chris Scruggs
From:
Nashville, Tennessee, USA
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Posted 11 Dec 2003 11:10 am
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How true, Bill. One thing that bugs me, is to see a young student steel player playing without picks because it's "easier", or holding their bar the wrong way bacause they think it "feels more comfortable when you hold it backwards". Greatness is achieved through hard work. Remember what wise old Yoda said, "Easy is the way of the dark side".
I geuss the difference of knowing when not to play, but knowing how to play it, is the difference between knowledge and wisdom.
I would rather be a "high school graduate" musician who plays tastfully, than a "doctor" who performs "unneccesarry surgery" all over the singer's verse. 
Chris Scruggs
Oh, and don't forget that certain "straight steel player" was the first country steel guitarist to put pedals on his steel. If you listen to his version if "Lover", you hear that Jimmy Bryant can barely hang on to the tempo he set by that explosive triple neck Bigsby.[This message was edited by Chris Scruggs on 11 December 2003 at 11:12 AM.] |
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 11 Dec 2003 11:13 am
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| Quote: |
| The toughest thing about success is that you've got to keep on being a success. Talent is only a starting point in any business. You've got to keep working on that talent to stay successful. |
Irving Berlin[This message was edited by Donny Hinson on 11 December 2003 at 11:13 AM.] |
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Buck Dilly
From:
Branchville, NJ, USA * R.I.P.
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Posted 11 Dec 2003 2:08 pm
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| Technique is a neccesary but not sufficient condition. |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 11 Dec 2003 9:32 pm
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Chris S.,
I dropped by a jam session years ago, where an absolute gentleman whose name was Bob G. was playing a non-pedal straight steel. He was having a grand time playing some great tunes with a two guitarists. I got to jamming with him after a while, and after a few songs, I felt wide-eyed and bushy-tailed. Forgetting for the moment, that the straight steel can leave a player hung up searching for certain note patterns, I drove into "Under The Double Eagle" at double time on the Spanish guitar. Needless to say, he was overwhelmed and refused to tear into the catchy melody. Bob G. was a very popular entertainer, and I became very fond of him, after listening to him back singers at local nightclubs. His technique was always appearing in a white shirt, and bearing the marks of a true gentleman.
Bill H. |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 12 Dec 2003 2:46 am
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Mark Van
Allen,
The realization that we can do better; is the inroad to excellence and achievement. To move forward appreciably, is to cast a wary eye upon things that pertain specifically to steel guitar, and resist going off on some unrelated tangent. Success is measured by impartial rulers, preferably those we carry on our own belts.
Bill H.
[This message was edited by Bill Hankey on 12 December 2003 at 09:21 PM.] |
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Stephen Gambrell
From:
Over there
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Posted 12 Dec 2003 5:11 pm
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| I must add,that,knowledge of the alphabet, vowel and consonant, is essential to one's formation of words. And the more words one can form, the more posts one can leave on the Steel Guitar Forum. |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 13 Dec 2003 1:37 am
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Stephen G.,
True to your own propensity to edge up to rhetorician status, once again your effective writing, contains communicable hints of derisive implications, which contain the connotational powers to shred a thread. Nevertheless, Merry Christmas and a Happy New Year!!
Bill H. |
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Randy Beavers
From:
Lebanon,TN 37090
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Posted 13 Dec 2003 4:52 am
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The biggest help for me was learning to read just enough so I could learn from "Fake" books or sheet music. I'm still not fast at it but I can scratch and claw my way through it.
I also think everyone should record and listen to themselves. It's like if you ever have your golf swing recorded on video, you'll say "I can't believe I'm doing that!" Same thing with the steel. I'll record arrangements of songs and listen to them in the truck while I'm driving. I'll hear things in my technique I need to improve on that I would never have realised I was doing, had I not listened to it on tape or a CD. Like golf, we get caught up in the "heat of the battle" and don't realize where our faults really come from.[This message was edited by Randy Beavers on 13 December 2003 at 04:54 AM.] |
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Gordon Titcomb
From:
Woodbury, Connecticut, USA
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Posted 13 Dec 2003 5:29 am
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Hey Bill, interesting topic.
I participated in a recent PSGF discussion on blocking.....something occurred to me in that discussion that "dovetails" very nicely with this discussion of technique.
I have opinions as to efficient techniques for blocking, picking, etc., and there are folks that have different opinions about what technique to use to accomplish the same
things. The point is that; whether or not we agree on WHICH technique to use, I would observe that all experienced players have
developed techniques that allow them to repeat or replicate a desired sound process with precision virtually every time they desire to do so.
When I was learning the basics of playing, all of this was a rather "hit or miss" proposition....sometimes I was on the green, sometimes down the fairway, often in the rough, and sometimes not even on the golf course!
The object of technique(in my mind) is that desired results can be produced with great consistancy. It is no different than learning a golf swing, learning to land an airplane ( I used to be a flight instructor) or even something as simple as tying one's shoes!
The never-ending quest is of course, improving one's technique towards that theoretical, (but non-obtainable) point where ANYTHING that you could imagine, you could execute.
Jus' my two cents.
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Best regards-Gordon
http://www.gordontitcomb.com
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 13 Dec 2003 7:34 am
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Gordon T.,
Thank you for sharing your professional observations, and not promising a "rose garden" for those who are searching musically, while trying to clear hurdles which require hours of practice. Your past verbal demonstrations, reflect the disciplined and conscientious courses you've followed through your musical career. I am referring to the few times that we've met at gatherings. I've found that, with training, the bar hand can produce those very important complex additives, which add so much in terms of expressions to given melodies. Proper inversions, bar glisses, and bar placements may very well maximize the chances for a discussion, which in effect, would weigh out, which of the two necessary techniques, (picks or bars), influence total sound the most. The discussions involving picks, I believe, has pulled the train of thoughts away from a far greater subject matter. I'm advocating better control of the bar hand, which reflects the symbolic varying degrees of mediocrity. Holding the bar squarely over the proper fret is a good starting point. "Fishtailing" the bar, for example, detracts from proper pitch levels. Giving special attention to the bad habit, most assuredly will result in a much better total sound.
Bill H. [This message was edited by Bill Hankey on 14 December 2003 at 02:28 AM.] |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 14 Dec 2003 2:49 am
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Randy B.,
I enjoy knowing that you have found the time to provide forum members, with information, that will ultimately influence the progress made by them, to reach higher levels of expertise in the art of playing steel guitar. Your recent trip to New England has produced greater efforts by those who are striving to advance through information gathered at steel guitar shows.
Bill H. |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 14 Dec 2003 11:48 pm
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Chris Scruggs,
Could you run that by me one more time? That part of your reply noting Jimmy Bryant having difficulties,"Hanging with the 'explosive' triple neck Bigsby", in the song called "Lover". How can this be? They didn't call him "guitarist of the year" for a number of years, just to hear the words spoken. Where on earth did such a rumor originate? Is this interpretation of J.B. an observation you've made on your own, or is it shared by others?
I'm truly interested to learn how it came about. Thanks...
Bill H.
[This message was edited by Bill Hankey on 15 December 2003 at 01:00 PM.] |
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Franklin
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Posted 15 Dec 2003 8:14 am
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| Chris.....you obviously never played with Jimmy Bryant. You'll have to trust us old timers on this one...playing any tempo Speedy set was easy for him, which is why they were perfect for each other.....Both of these wonderful musicians left behind a legacy for amazing speed and in incredible technique....Paul |
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Stephen Gambrell
From:
Over there
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Posted 15 Dec 2003 10:12 am
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| Bill, my dictionary defines "rhetoric" as:"The undue use of exaggerated language; bombast."(Random House Webster's College Dictionary)I have no desire to speak rhetorically, but rather, to be understood. My comment apparently went under your radar. My point was, and is, that the more technique one possesses at ANY given skill, enables one to perform that skill with more accuracy and precision. Sorry if I "dumbed down" too much, but now that I've explained my point, a little less hostility would be appreciated! Merry Christmas to you, as well! [This message was edited by Stephen Gambrell on 15 December 2003 at 05:32 PM.] |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 15 Dec 2003 1:48 pm
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P. Franklin,
Jimmy Bryant was known as "the Fastest Guitar in the Country". Speedy West and Jimmy teamed up in 1953. I believe their first album was with Capitol, called "Two Guitars Country Style", recorded in 1954. For four years Capitol recorded Speedy and Jimmy on 12 singles, from '53 through '57.
I'm glad you agree that they could put some real action into their favorite up-tempo instrumentals.
Bill H.
[This message was edited by Bill Hankey on 15 December 2003 at 03:19 PM.] |
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