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Topic: Is this the NEW trend? |
Ray Montee
From:
Portland, Oregon (deceased)
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Posted 12 Mar 2008 10:31 am |
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While a lot of players here on the Forum discuss the merits of reverb and/or vibrato bringing about sustain.........(or even a variety of stomp boxes!)
I've noticed more and more players now playing the steel guitar with its sweet sustain, doing so with an obvious stacatto-like or muting of their melody notes.
Try as I may, I still find that particular playing/picking or bar lifting mannerism to be annoying and/or offensive, insofar as the steel guitar itself, is concerned.
This is not a condemnation of those who do it, but I just don't see the point with this particular instrument. How do YOU see it? |
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Michael Douchette
From:
Gallatin, TN (deceased)
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Bill Cutright
From:
Akron, OH
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Posted 12 Mar 2008 3:10 pm
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| Ray, what are some current tune examples? |
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Ray Montee
From:
Portland, Oregon (deceased)
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Posted 12 Mar 2008 3:59 pm In answer to your question.........
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I was referring to no one in particular but I've heard some of the local players and any number of them on You-Tube and Hawaiian Steel Guitar Assn. that seem to be playing songs all of the way thro', while lifting the bar on virtually every note.
It just didn't sound right for the beautiful sustaining tones of the Hawaiian Steel Guitar. |
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Jim Sliff
From:
Lawndale California, USA
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Posted 12 Mar 2008 4:04 pm
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| Quote: |
| I just don't see the point with this particular instrument. |
It's just a style you don't care for. Nothing wrong with that. However, there's nothing about the instrument that says "I must be played with sustained, legato lines" either.
Just like the discussions on single-note playing vs harmonized playing, it's a progression of the instrument into other musical territories. That (if it's appreciated) means a bigger market, more sales volume, and more/better deal on instruments and accessories for ALL players.
IMO any type of playing that expands the market is good for the instrument. It doesn't matter whether I like it or not - if someone will buy it, it's good for the steel community as a whole.
There are purists who will disagree. That's unfortunate IMO.
_________________
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional |
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Ray Montee
From:
Portland, Oregon (deceased)
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Posted 12 Mar 2008 4:08 pm Are YOU sure.........it's a style?
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Hi Jim: Are you sure this is 'a style' or is it a playing handicap that some have not acquired the ability to recognize, as yet?
I'm no purist.........and I love creativity on this as well as any other instrument.
Beauty may be in the eye of the beholder but for those with good hearing, it might also be found there. |
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Eric West
From:
Portland, Oregon, USA, R.I.P.
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Posted 12 Mar 2008 5:45 pm
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| Quote: |
I've noticed more and more players now playing the steel guitar with its sweet sustain, doing so with an obvious stacatto-like or muting of their melody notes. -RM-
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I think Speedy West ( no relation) comes to mind.
Hilo March is another one by a guy whose last name started with a "B"..
The latter is a great example of staccato type notes with questionable tone..
EJL |
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Edward Meisse
From:
Santa Rosa, California, USA
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Posted 12 Mar 2008 5:56 pm
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I think you can tell whether something is a style or a handicap by listening to the person long enough to find out how much else they are capable of. If I understand what you're talking about, Sol Ho'opi'i did quite a bit of it. But he was capable of alot more. My opinion is that the best players have the broadest range of techniques and the most eclectic styles.
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Amor vincit omnia |
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Bernie Gonyea
From:
Sherman Tx. 75092 ,U.S.A. (deceased)
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Posted 12 Mar 2008 7:02 pm Using the Staccato Technique On Steel
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Ray; I have to agree with Eric on this one technique of using a staccato type of picking on the melody notes, while pickin on your steel guitar. I'm sure this is the exact technique which our beloved Jerry Byrd utilized quite often, when playing a lot of his " CHOPPY " Hawaiian numbers. This is my belief, anyway..Bernie 
_________________
2007 Zum S-10; 1967 Sho-Bud [ D-10 ]; 85 S-10 Sierra; 1953 Multi-Kord [ 6 String- 4 pedals ] A Sho-Bro six String Resonator Guitar; Nashville 112 Amp; hilton Vol. Pedal |
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Jim Bob Sedgwick
From:
Clinton, Missouri USA
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Posted 13 Mar 2008 1:53 pm Re: Are YOU sure.........it's a style?
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| Ray Montee wrote: |
Hi Jim: Are you sure this is 'a style' or is it a playing handicap that some have not acquired the ability to recognize, as yet?
I'm no purist.........and I love creativity on this as well as any other instrument.
Beauty may be in the eye of the beholder but for those with good hearing, it might also be found there. |
Ray, If I am interpreting you correctly, you are referring to overblocking the phrases. I did that for years, not even being aware of it. Most of the introductory courses emphasize blocking. Too much so. Many of the newer players have not tried non blocking. As you let the guitar sustain, strinking the next notes will override the first set of notes, thereby making a seamless sound (or nearly so).
It takes a lot of practice to do. It took me many years of practice to correct the bad habit I had created. Is this what you are referring to? If so, I agree with you, unless the technique is done intentionally. |
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