Teaching someone lap w/o any musical background

Ron Victoria · From: New Jersey, USA

I have an opportunity to teach someone the lap steel. He has no musical knowledge. This would be as a paid teacher. Could I go with tabs and forego music theory, or just not give it a try?

Thanks, Ron

Alan Kirk · From: Scotia, CA, USA

If he can carry a tune with decent pitch sense, he can learn lap steel. Teach him to play a melody.
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Gary Lynch · From: Creston, California, USA

Eventually, to advance, basic music theory is a must. Just the basics will carry you a long way. Scales! Scales! Scales! Cool

Jeff Au Hoy · From: Honolulu, Hawai'i

I agree with what Alan said. And I'd totally skip theory, except to impart the idea of a whole and half step. Music came first, then we came up with all this jargon just to talk about it.

Steinar Gregertsen · From: Arendal, Norway, R.I.P.

I had a lap steel student once who had no knowledge of theory, and I found it almost impossible to teach him without touching at least very basic theory.

I could always show him a melody and he could mimic it, but then that was all he learned - to mimic what I had shown him. To move on he would need to know the whys and hows so he could figure out stuff on his own later. Doesn't need to be advanced stuff, but it sure helps to know the difference between a major and minor chord/scale...

And, at least to me, that's the most important thing a teacher can do - teach the student how to figure out stuff on his own.

Steinar
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Randy Reeves · From: LaCrosse, Wisconsin, USA

I agree with Steinar. fishing is great, but teach him how to fish.

Keith Cordell · From: San Diego

If your playing is based on your theory knowledge, you will find it difficult to teach without it- but it is nearly always detrimental until the student is at least proficient enough to play a few songs. If you give the student a way to enjoy the instrument and a motivation to pick it up before you lay a lot of theory out there, he or she will be more likely to keep at it- if the theory gets tiresome they have a few tunes to play to get back to what they started the lessons for in the first place. Many students faced with theory studies will just cash it in as too difficult before they will put in all the time necessary to grasp theory; and most theory teachers can't teach it without going into too much depth too fast.

Gary Lynch · From: Creston, California, USA

Jeff has a good point and so does Steinar. The basics are a great tool. But don't end up like some musicians who can't play a note if you take the sheet music away from them. It's best when it comes from the soul. A little education can help that.

My first guitar teacher made theory fun. Like he would teach me a blues scale. Then told me to make up a little riff for next weeks lesson. Then we would proceed until we covered the basic scales. He handed me a bass and had me play along using simple bass notes. It was a lot of fun.

I might add that steel guitar is not a real easy instrument to learn in my opinion. Especially if you start switching tunings. The picks and bar alone are tough to get down not to mention blocking and all the other interesting dynamics. It surely takes a patient teacher and a really motivated student.

Steinar Gregertsen · From: Arendal, Norway, R.I.P.

The way I do it (with my guitar students, I don't have any lap steel students at the moment) is to show them songs and get them playing 'real' songs as soon as possible - then I explain a little about the theory behind it, but I'm careful not to get too theoretical.

So my approach is to teach a 'real life' musical piece, and then explain some of the theory behind it. I couldn't imagine starting with teaching a lot of theory before they get to play a song.

Now, when a student has reached a certain level, I start working on learning the fretboard. Again I do my best to make the experience as close to 'real life' as possible.
I usually do this by throwing the student out in deep water - I give him a backing track on CD, tell him that it's in 'A-major' and what notes A-major consists of - then I tell him to go home and figure out something to play over it on his own (having already given him a map of the neck, of course). I try to avoid "licks" and instead encourage melodic playing,- one great way to do this is to tell the student to only play on one string, then change to a different string, a very effective way to learn the fretboard while avoiding the typical "guitar licks".

So this way the student will "learn by playing", and not by sitting with his head buried in some 'boring' theory book. I've had great results by challenging the student's creativity this way, most of them think it's fun because they get a feeling of actually 'making music' (most find it a bit intimidating at first, but they soon get over it), and they learn basic theory while doing it.

Works for me.... Wink

Steinar
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Alan Kirk · From: Scotia, CA, USA

I have nothing against theory, having taught beginning theory for four years at a university. But the most important aspect of learning any instrument is developing your listening abilities. Expression-wise (soul), I'll take an ear player over a theorist any day.

People played instruments for thousands of years before music theory was invented.

That being said, there is nothing wrong with teaching a beginner some music theory, as long as you don't overdo it and squeeze all the fun out of learning an instrument. More focus on making sounds and experimenting a little bit with the instrument and less focus on theory. Show him some real cool easy stuff, something that gives a quick result, some satisfaction. You can always add some theory later.
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Gary Lynch · From: Creston, California, USA

"People played instruments for thousands of years before music theory was invented."

One of my teachers used to call that; "Gut level music" and she said it could only be taken so far. She did not like me. At that time I was learning the Hammond organ. She wanted me to start off with; 'My Wild Irish Rose' but when I went home I was trying to play 'Reveille Rock' by Johnny and the Hurricanes. From the gut.

Alan Kirk · From: Scotia, CA, USA

Dennis Coelho · From: Wyoming, USA

After nearly forty years of teaching string instruments, I'd have to say that you need a bit of theory and tab and ear-training. I'd start with some simple, well-known singable melodies with I-V-I and I-IV-V progressions, and use that to learn chord placements through the 12th fret. Almost everyone I've ever taught, here or in Europe, has had a basic knowledge of the do-re-mi scale, and you can build on that to explain the necessary theory. Tab is useful, of course, for learning melodies, but some theory well help the student to see that the same melodies can be found in any key. I'd break the lesson up into some chords, some melody, some theory homework, and some "play along with the teacher."

I've found that teaching an instruments always improves my own playing.

Dennis

Edward Meisse · From: Santa Rosa, California, USA

Music theory wasn't really so much, "invented," as it was discovered. It is the study of the relationship the notes have to each other. Even if this relationship is only in our human minds, it seems to exist universally in our human minds. The difference that seems to exist is how far melodic and/or harmonic relationships based on that basic universal relationship has been developed in a given musical culture as opposed to other aspects (rythm for instance) of music. Theory and instrument go hand in hand if you ask me. But instrument can come first. Theory is meaningless to a person with no musical experience. But I don't think you should go too awfully far without beginning to teach theory. Maybe you could start with a book like, "The Complete Idiot's Guide to Music Theory." It may give you some idea's about how to proceed.

Les Anderson · From: The Great White North

I started teaching a 21 year old to play steel last summer. I started him on simple open chords so the guy could train his ear to learn which and how harmonizing chord goes with which set of musical notes. He was also ecstatic that he could very quickly chord along with simple three chord songs. (I started him out on Hank Williams songs because of their simple chord structure)

I think the biggest obstacle for most newbies is to be able to match chords to notes or melodies. Truthfully, music theory is slowest and most boring way to learn any instrument. This is also the reason there is such a high turn over in students who take music lessons; however, learning proper music theory opens up a much broader range of music for him or her if they stick with it. (I wonder how many kids would stick with their music lessons if their parents didn’t threaten them with execution if they didn’t go to their weekly lessons?)

Let’s face it, 99% of those who are just breaking in to learning an instrument want to either learn to play a song as quickly as possible or to be able to play along with someone else.

There are very few of us weirdoes who will willingly practise scales on our own until we hear them in our sleep.

Doug Beaumier · From: Northampton, MA

Ron, I would teach him chord positions on the lap steel, scales, some simple melodies, and then expand upon those melodies with harmonies.

If you have BIAB, put together some basic chord progressions and burn WAVs onto a CD for him. Have him play along with the chord patterns, teach him about fills, and give him a couple of simple licks to play. BIAB practice tracks are very helpful. Teach him how to read a chord chart. He needs to know where the major and minor chords are on his instrument.

Write out some simple melodies that everyone has heard, like Amazing Grace. Use tablature, but also teach him about timing, note values, measures, etc. Even if he is not reading notes for lap steel he should know what a measure is, how many beats in a measure, how long notes are held, etc. I often write symbols above the tablature showing ¼ notes, ½ notes, whole notes… symbols with stems that look like notes so the student will know the timing of the tablature.

Teach him technique: picking, blocking, vibrato, hammer-ons & pull-offs, chimes, bar slants. Let him know that lap steel is an instrument of many tunings. Stick with one tuning at first, but demonstrate to him how other tunings sound. Teaching several different tunings early on usually does not work. A student needs to settle into one tuning for quite a while before moving on to a different tuning.

Be sure to give him something to practice every week. You need to keep him interested and motivated. Give him melodies, fun things to play, things that sound good. You may have to write out some arrangements for him (simple songs). You could use a lap steel method book, like the Mel Bay C6 lap steel book written by Scotty, and add some material of your own. If you write anything out… give him a copy and keep the original. I learned that the hard way!

Work some theory into the lessons as you go along... scales, how the chords are derived from the scales, key signatures, etc... but don’t beat him over the head with a lot of theory. Incorporate some theory into every lesson, but mainly, make it fun. Music should be enjoyable. That's the approach I take. Wink

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Edward Meisse · From: Santa Rosa, California, USA

Good one, Doug! Very Happy

Don Kona Woods · From: Hawaiian Kama'aina

Don Barnhardt · From: North Carolina, USA

For an absolute beginner Les Anderson's advice is right on. Ear training is absolutely essential. If the student can pick up on simple 3 chord songs using the lap steel thats great, if not start him on a flat top until he can accompany himself on simple songs then switch to steel.

Al Szwarc · From: Metuchen, New Jersey, USA * R.I.P.

If your student is a beginner, there is a lot of technique you can teach him. If you take on a student, don't forget the last lesson. You don't want to leave someone high and dry with no next step in the learning process. You need to leave him with direction on what is next. It shouldn't be like saying good bye.

Alan Kirk · From: Scotia, CA, USA

Alan Kirk · From: Scotia, CA, USA

...
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Everyone in the world has two jobs: 1) whatever they do for a living; and 2) music critic.

Joseph Rush Wills · From: New Jersey, USA

Alan Kirk writes: <<..."classically trained" music teachers. They have done more to turn off people to music than any other factor. >>

I couldn't agree more! First came the music, then someone wrote it down. You learn to speak first, then read and write!
A lady from Virginia, Murphy Henry has tapes and videos teaching folks how to play bluegrass instruments by ear. Many people have learned that way and are perfectly happy jammin' away at their favorite axe.
That's the point, enjoyment of your instrument, isn't it?

Joe Wills

Bill Creller · From: Saginaw, Michigan, USA (deceased)

If I remember correctly, some of the old Hawaiian steel players couldn't read a note, but knew what the chords were.
Maybe that's why we cant play like the Hawaiians, we're into theory and different approaches to the music (??)
If I had to learn theory (again) I wouldn't play at all.

Keith Cordell · From: San Diego

When I was a straight guitar player, I had the theory kinda figured out, though I was QUITE rusty at it- hadn't needed to read a note or transcribe in almost 20 years. When I started steel I was faced with re-learning theory applications and almost cashed it in in about 2 weeks. When I stopped trying to apply all that stuff and just play, I regained my interest and became much more proficient, as well as spending a lot more time on the guitar. If I was going to teach someone, I would never start with theory; I can easily imagine being 6 months to a year before even introducing it into the lessons, except subliminally as a part of the lessons.

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