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Topic: Louvin tribute, "Cash on the barrelhead" Player an |
Eddie D.Bollinger
From:
Calhoun City, Mississippi
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Posted 15 May 2007 11:28 am |
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Is this great tune played by Randy Kohrs on the tribute album? What dobro tuning is he using?
My G tuning is not letting me get there.
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Eddie Bollinger
Mullen RP D-10 w/ Max-Tone
Nash 1000, Peavey PowerSlide |
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Brad Bechtel
From:
San Francisco, CA
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Posted 15 May 2007 12:28 pm
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Are you talking about the version by Joe Nichols and Rhonda Vincent on "Livin', Lovin', Losin'"?
_________________
Brad’s Page of Steel
A web site devoted to acoustic & electric lap steel guitars |
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Eddie D.Bollinger
From:
Calhoun City, Mississippi
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Posted 15 May 2007 1:06 pm
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Yes, I'm sorry. That WOULD be pertinent info.
Joe and Rhonda are a good combination on that one. |
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Mark Eaton
From:
Sonoma County in The Great State Of Northern California
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Posted 15 May 2007 1:35 pm
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I don't have the time (or probably the patience) to slow the thing down and tab it out for you, but I listened to it awhile ago, with dobro on lap trying to approximate some of it-and sure seems like G tuning to me.
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Mark |
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Eddie D.Bollinger
From:
Calhoun City, Mississippi
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Posted 15 May 2007 5:02 pm
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| Thanks Mark I appreciate it and I will try again. |
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Mark Eaton
From:
Sonoma County in The Great State Of Northern California
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Posted 15 May 2007 5:28 pm
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Eddie, the thing I have noticed about the Forum, is that folks who spend the majority of their time on pedal steel and lap steel(I don't have any idea if the description fits you)-especially lap steel players who have become proficient on tunings like C6th, have a tendency to think beyond tunings on the dobro like good old open G.
People who play a lot of dobro (like me), and less pedal and lap steel, have a tendency to stay more in G tuning.
Professional dobro players, like Jerry Douglas, Mike Auldridge (when on 6-string), Rob Ickes, Phil Leadbetter, Andy Hall, and yes-Randy Kohrs, though some of them change tunings at different times, pretty much live in the open G. Douglas uses open D quite a bit,and a couple other tunings on occasion, but Rob Ickes as a contrast, rarely ventures out of G, and this includes a number of jazz flavored pieces.
So when I was plucking around on the dobro while listening to that track, I found a lot of stuff that Randy was doing was pretty easily accessible in G (without the Kohrs flair of course-the man is truly a monster!).
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Mark |
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Eddie D.Bollinger
From:
Calhoun City, Mississippi
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Posted 16 May 2007 5:28 am
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Wow!
That is some great insight for a pedal player and
a dobro "hack", such as me. It also clears a few things up for me on some things that I thought were too "complex" or "different" for our open G.
Mark, thank you for responding and all your help.
Eddie |
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Stephan Miller
From:
Silver Spring, Maryland, USA
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Posted 16 May 2007 1:58 pm
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Since the main question on this thread has been answered, I wanted to chime in about the CD itself.
Each of these Louvin Brothers tunes has a different, perfectly matched vocal partnership at the center-- lots of great singers on this. IMO it'd be hard to find a finer example of country duet-style singing. The material is classic and this recording deserves to be also. Some of these tribute albums are not so hot. This a great one. |
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Mark Eaton
From:
Sonoma County in The Great State Of Northern California
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Posted 16 May 2007 2:19 pm
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This is truly one of my favorite albums that has been released in the last several years. Carl Jackson produced it and he did an excellent job.
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Mark |
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Eddie D.Bollinger
From:
Calhoun City, Mississippi
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Posted 16 May 2007 6:14 pm
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No question. THIS tribute is my all-time favorite.
The genre in its purest form. Carl Jackson is a country music MACHINE in his thinking and musical
abilities.
Eddie |
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Clyde Mattocks
From:
Kinston, North Carolina, USA
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Posted 17 May 2007 6:04 pm
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To agree somewhat with Mark and to offer some help to
beginning Dobro players, the open G tuning has limitless possibilities if you approach it more from
a bluegrass (ala Rob Ickes) perspective. I find the
G tuned Dobro is more akin to the banjo than to the steel guitar, in what you can do utilizing open strings, in lots of keys.
Prior to Josh Graves joining Flatt & Scruggs, the most prevelant tuning was A. Josh simply dropped it a step in order to play the banjo breakdowns with Earl. Subsequent gunslingers like Douglas, Ickes and
Kohrs have found numerous ways to overcome what was
thought to be a limited tuning. It's on there, the
minors, augmenteds, diminisheds, and complex chords.
You just have to think substitutions.
You can also go back and listen to what some of the
players like Herbie Remington could do with straight
A tuning intervals. They weren't just thinking in
terms of the obvious chord positions. |
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Peter Dollard
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Posted 18 May 2007 11:02 am Bits And Pieces
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| After playing steel for the last 25 years it seems an advantage when learning dobro. Here is why: When playing steel you almost always have three or more notes to make an acceptable chord. Therefore you can kind of figure which notes are most valuable to the chord. With open "G" on the dobro you are lucky to get more than two notes in off chords like augmented. In the key of G an augmented on the dobro can be rendered by one note ist fret first string(of course you have the other open g notes working cause its in G! but not so much up the neck) or a two note combination (bar angled) 12 fret second string 13th fret first string. It is implying the most important note and letting the other instruments define the chord(if necessary) to find the various diminisheds etc....Peter |
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