Very basic bar and picking techniques question

Malcolm Leonard · From: Rhode Island, USA

I have been playing traditional country rhythm and lead acoustic since about the time Adam first met Eve but I am brand new to lap steel.

I just got the DeWitt Scott C6th book and CD but(darn it!)the author has almost nothing to say about mainpulating the bar or which fingers are usually used to pick which strings.So,I have two raw newbie questions,please.

I assume that,on a 6 string lap steel the thumb usually picks the three low strings and the three trebel strings are picked by whichever(Index or middle) finger is conveniently close to which string.
Am I right?

Question number two is:
When playing a series of single string notes up and down the fretboard,is it customary to use just the very tip of the steel bar and keep lifting the bar completely above the strings each time,between each note or do we try to keep the bar in contact with several strings at all times and just mute any strings that we don't want to ring out?
In watching the resophonoic guys,on TV I notice they seem to do lot of twisting,turning and lifting of the bar,while the pedal steel guys seem to keep the bar in more of a chord position most of the time,but I may be all wrong in this.
Thanks!
Malcolm

[This message was edited by Malcolm Leonard on 09 July 2005 at 06:02 PM.]

[This message was edited by Malcolm Leonard on 09 July 2005 at 06:04 PM.]

George Keoki Lake · From: Edmonton, AB., Canada

Right hand blocking is the preferred approach.

Scott Thomas · Posted 9 Jul 2005 9:19 pm

Hi Malcolm, this is from Jerry Byrd's course:
"No particular finger is required to pick a particular string. The only exception or "required" picking pattern is when all three picks are used simultaneously on three strings. But in instances where only single notes or two-string combinations are used, it is left to the student's judgement as to which picking finger he uses."

Several pages later he writes(in the context of a series of simple exercises in the book:
"As stated previously, you may use any of the three picking fingers you wish . . . in single string playing. But where two notes are shown . . . it is best if you use the thumb on the bottom of the two strings and either of the finger picks you choose on the top string. But in three-string exercise, all three picks must be used of course."
But later when talking about "pick-up" notes, he describes playing in a manner he calls "P-tah":
. . . "moving from one string to another smoothly when playing single string passages. The bar is tipped up only enough to clear the strings underneath the tip of the bar. The bar touches only the string being played. Gently with very little pressure downward, push the bar (or pull, if possible) over to the next string. Use the thumb pick only when playing single string." (This seems like an exception to what he instructed previously above?)
"The thumb pick and the tip of the bar(the area just behind and under the rounded section about 1/4 of an inch) must act in perfect coordintation as the bar moves into and out of each string. NEVER lift the bar when when playing single-string passages. That is why the bar is rounded off on the front end, to allow that "P-tah" effect, "sound against sound" with no gaps or dead-air in between notes."
At the risk of copyright infringement, I hope this helps. I hope Jerry wouldn't mind. If you can, invest in his book, you won't regret it!
Regarding the left hand, when playing two (with few excetions) or more strings together, the bar is laid flat on the strings, but shouldn't go any higher than the highest string being played. (For example, if you are picking strings 3 and 4 together, the bar should cover only strings 3 and below.)
I think that the above is a good foundation, but I have since found that there are other approaches. I have been working through Joe Wright's "Secrets of the Wright Hand" which covers pick blocking in depth.
Have fun and stay with it!

Patrick Thirsk · From: Lancashire U.K.

Hi Malcom, Like you I'm a "Newbie" both on this forum and on lap steel. I've also got the same book and c.d.that you mention. So here's a question you can maybe give me your views on and maybe anyone else can too. Have you got to force yourself to read the notes as you play or are you content to just read the tabs. If a player just uses tabs, will reading the notes come automatically as time goes on? If this seems like a load of old bunkum please forgive!!

Malcolm Leonard · From: Rhode Island, USA

Scott,
Thanks for the detailed info!I will certainly look into the Jerry Byrd courses as it looks like he leaves no stone unturned in his teaching!
Patrick,years ago after having already played acoustic for many years,I decided to take a few formal lessons from a well known teacher in my area who specialized in gypsy jazz, Django Reinhardt style playing.
It was a real pleasure to listen to this guy play,but learning to read music with him drove me just about crazy.The notes on that piece of paper kept coming between me and my guitar and I felt like I was splitting my brain in half,trying to play and read all at the same time.I kept wanting to break away from all that formality and rigidity and just play it as I *felt* it.
So,I do not look forward to dealing with either tab or notes in the steel courses.
But,I guess tab or some other kind of notation must be dealt with,like it or not,in order to get through any written course.
I am not sure about the exact answer to your particular question,though.
Malcolm

Randy Reeves · From: LaCrosse, Wisconsin, USA

does it get easier to read Tabs and play at the same time.

for me no. I have never gotten use to Tabs.

I feel with my ear. after many years it works pretty well for me.

I once struggled with some blues licks Tabs. note for note, ut not sounding like anything.
evevntually I started to hear what was tabbed. I ound I had been playing that particular lick for ages. it was simple, but not in witten form.

that's my method.
knowing that many enjoy tabs, I would think one becomes more proficient at it.

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