Back Up

Bob Doran · From: Ames, Iowa, USA

Tasteful, effortless back up is not coming easily to me on the steel.
On the banjo, it is so easy. There are dozens of ways, of course, but if someone asked me how to do just one way, I would say: Use the "Thumb in and out" technique (banjo players will know of what I speak)-it is effortless and always sounds great.
It is what gives the banjo its "bounce"

The steel has so many strings and possibilites.
I am overwhelmed.
Any real simple advice out there?

Thanks
Bob

Phil Halton · From: Holyoke, Massachusetts, USA

Bob, try a forward roll on strings 8, 6 & 5. Wink

Just kidding, but be prepared for some banjo jokes coming your way. I'm a 30 year banjo picker myself and been obsessed with the steel for 4 months now. Have barely looked at my Gibson since I got my Carter back in june. I'm probably wrong on this, but I don't think "backup" as we think of it on banjo applies to the steel. Its more a "fill in the holes" kind of thing--there's just too much sustain on steel to be getting busy with backup.

What I've been shown and taught to do thus far, is to, if anything, just play a chord-preferably a two note chord fragment- on the first beat of the bar. Then, you can fill in the spaces between the singer's phrasing if and when appropriate.

I'm sure others will chime in with far better advice than I could give, but I don't think you'll go wrong keeping it simple and unobtrusive.
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Disclaimer! I make no warranty on the manure I've been spreadin' around here.

Calvin Walley · From: colorado city colorado, USA

look into Jeff Newmans " band stand backup " it will answer all of your questions .its top notch instructon..none better anywhere
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Mullen SD-10 /nashville 400
gotta love a Mullen!!!

Guitars that i have owned in order are :
Mullen SD-10,Simmons SD-10,Mullen SD-10,Zum stage one,Carter starter,
Sho-Bud Mavrick

Charles Davidson · From: Phenix City Alabama, USA

Sometimes less is better than too much when playing behind a singer,Play in the holes,play a fill in between the vocal lines,NEVER on top of the vocals,If there is a steel and guitar [or keyboard] in the band learn to split the lead rides,One playing the first half the other the last half,When the other instrument is playing a lead,LAY out don't be playing every hot lick you know over his solo,or the vocals.Learning when NOT to play is just as importent [if not more so] as WHEN to play,don't you know.
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Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC !

Steve Norman · From: Seattle Washington, USA

Ive seen a lot of steel players tamp like on a banjo. Just lift the bar right after you pick. Same on Dobro, usually on the "and", I dont do it because I am very bad at it. I just play chords real low on the volume...
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Charles Davidson · From: Phenix City Alabama, USA

Regarding the post I made above about not over playing reminds me of eons ago ,when I reached the point that I could play in a band[on guitar,not steel]Still wet behind the ears,I thought I HAD to play every lick I knew from beginning to end,on every song,over the vocols,other pickers etc,After some harsh butt chewings from a couple of old veterans,they set me on the right path,don't you know.
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Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC !

Chip Fossa · From: Monson, MA, USA (deceased)

Bob,

Just what is "thumb in and out"? In my past I've been surrounded by banjos, here and there. Never owned one. Dabbled with them.

But they are in open tunings, of which I'm obviously familiar with, and so I was able to figure things fairly quickly; But not some of the "mysteries & techniques" that can only come from staying with any instrument for a while.

So...what is the "thumb in and out"?

Thanks,

Chipper
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Chip
Williams U-12 8X5; Keyless; Natural Blonde Laquer.

Fred Glave · From: McHenry, Illinois, USA

I remember seeing Tom Morrel playing with the Bob Wills Texas Playboys. He was great to watch as well as hear. He didn't do anything but look out into the audience with a twinkle in his eye and a smile, but when it came time for him to play...wow. Most of the time less = more but the low strings on the steel are great for accompany parts.

Bob Doran · From: Ames, Iowa, USA

The "thumb in and out" provides the magic bounce to the banjo.
I can't post tab but this is how it goes.
Pluck in this order:
3rd string with thumb
2nd string with index finger
5th string drone with thumb
1st string with middle finger

That is first half of the measure
Then:
3rd string with thumb and rest an eight note
And finally pinch the 5th drone and first sting and rest an eigth note
Pure magic
Bob

Jim Eaton · From: Santa Susana, Ca

If the singers lip's are moving, lay out!
JE:-)>

Charles Davidson · From: Phenix City Alabama, USA

Right on Jim,just the point I have been trying to make,A good friend of mine[a great guitar player and has one of the best ears around]But I have seen him lose a lot of good paying [hard core country jobs]Because the singer would be singing maybe a George Jones tune,and my friend would be playing Wes Montgomery style licks ALL over the singer,Needless to say he never lasted too long on these gigs,I tried many times to tell him what he was doing wrong,I love him like a brother,but he's too vain and I guess too proud to ever admit he's WRONG about anything,so finnaly I just thought to myself,to hell with it,don't you know.
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Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC !

Alan Brookes · From: Brummy living in Southern California

Chet Atkins once said that you add as little backing as the song needs. When he was recording with Joan Baez, at the end of the number Joan remarked that when she was told that she was recording with Chet Atkins she imagined all sorts of brilliant guitar fills, but all Chet did was strum the chords. His response was, "That's all the song needed."

There's wisdom in those words...

Chip Fossa · From: Monson, MA, USA (deceased)

Thanks Bob. Smile

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