Tokenism Practice Sessions

Bill Hankey · From: Pittsfield, MA, USA

Is this a common practice? Does the question remind you of anyone? Surprised

I'll admit it! There are are times that the mood just wanders off a bit and the steel goes to the back burner. After all things are considered though, the realization remains, that the practice has suffered through no essential gains in learning new material, or dressing up a sustained musical "workshop". By that I mean to say that music allows for making improvements in presentations, no matter who you are, or how well you play.

Colm Chomicky · From: Kansas, (Prairie Village)

I quit the token part a long time ago.

Bill Hankey · From: Pittsfield, MA, USA

C. Chomicky,

Lets get something straight. I don't imbibe of alcohol, or smoke the deadly cigarettes, and never have gone near drugs. I'm sensitive to little jabs in the ribs, much like the unmistakable variety that come from your train of thoughts. Everyone's opinion counts for something, so why not have with it? Forum members are becoming a select group, much like lawyers who chase after ambulances. Their desire to be caught up in the chase to be NEAR the most advanced pickers has caught my attention.

Nic du Toit · From: Milnerton, Cape, South Africa

By that I mean to say that music allows for making improvements in presentations, no matter who you are, or how well you play.

Nearly all my practice sessions consist of tightening up on stock phrases, licks, or runs, etc. And at times some new ideas are spawned! Occasionally, though, some time is spend preparing solos, or licks, for a new song to be done.
Taking time out to 'practice' won't produce results, and be a waste of time if all you're going to do is to tinker aimlessly...
_________________
1970 P/P Emmons D10 flatback 8x5, BJS Bar, J F picks, Peavey Session 500, Telonics pedal. Boss GX700 effects.
Skype : nidutoit

Bill Hankey · From: Pittsfield, MA, USA

Nic du Toit,

"Oh.. but indubitably!" I've been waiting for a chance to squeeze that character remark into a reply. Tinkering is not a noticeable feature of someone who is studying the difficult stages of trying to move out of the mediocre class of players. It's for the most part, don't you agree, dependent on individual stamina and persistence? I'm quite sure you've heard many times, utterances of others announcing that they are fully engaged in practice. Yet they are unable to sit down without support, and present their abilities, by playing a melody in its entirety,from start to finish.

Nic du Toit · From: Milnerton, Cape, South Africa

Bill,
You must either be an early riser, or have a case of insomnia...... Very Happy

Here by us (South Africa) it is just past 12 midday, so I reckon it's about four, or 5 in the morning there by you. (Hence the quick reply to my post!)
I have this theory that most steel players have the propensity to want to play too many 'clever' licks in their solos, hence the inevitable 'bloopers' you always hear. I'm referring to 'live' playing....
Take a master guitarist, like the late Chet Atkins....I've heard him play many 'live' solos, with no 'glitches' at all.. Listen to any steel player doing a solo song, and it's a different story. I know I'm on dangerous ground here, but play me any song as performed live by any one of our current flock of 'great' steel players, and you'll hear what I mean. (Thank goodness for umpteen re-takes in the studio).
I'm not sure that ones ability to play a complete song unaccompanied is prove of anything. My feeling is that a steel player should concentrate on learning the science of back-up playing, and faultless turnarounds/solo breaks. During that process you get to know your steel neck, and any ad hoc solo break won't scare the bejeezes out of you. You will also find that most melodies are not that difficult to play according to the original melody line. We make it difficult for ourselves by wanting to add more moving harmony notes, and other intricacies, which leads to the inevitable 'bloopers' when trying to do it 'live'.. Not many people (besides mostly fellow steelers) have the endurance to sit through an evening of solo steel guitar music,anyway.
Like someone said : Practice correctly, and you will play correctly. ..... (or, did I just said that?.. Shocked

Bill Hankey · From: Pittsfield, MA, USA

Nic du Toit,

I typed a page that was in agreement with your last reply. I hit something on the keyboard that caused my response to erase. I'll just say that it included differences in time, retakes in studios, bloopers, enhancing the steel by accompaniment, etc. I'll cover each strong point as I see them one by one. I'm off to a breakfast treat. I enjoyed your music on the album..

Colm Chomicky · From: Kansas, (Prairie Village)

Bill,
On your opening post, I see you changed the title slightly and added a whole new paragraph to better explain your thoughts. So perhaps my response is out of context now given your revisions, but seemed quite in context when your original message was posted "as was". I had no intention to suggest anything to say you would be a midnight toker unlike some of our various Presidents.

I will say this, as far as practice sessions, for me I find an effective way is to take short practice sessions while doing menial chores around the house. While I am sorting laundry, raking leaves, etc the steel is on the back burner simmering. That then beckons me back to the steel and the pile of leaves, laundry, etc can just simmer also. I am currently studying for a work related test that involves a lot of memorization; I will read a page or two of technical notes on the test materials, go to steel as a break, then go back to studying a bit, switch back to steel, etc. All with the hopes that variation of tasks allows the subconscious to stir the pots that simmer on the backburners. Someday when this all comes together, dinner will be served.

Bill Hankey · From: Pittsfield, MA, USA

Colm C.,

I'm back from rye toast, but still no coffee this morning. Thanks for the friendly exchange, and the interesting words that depict a definite solution to keeping with a time honored practice routine. I wouldn't imagine that it's a first, although it may be among fewer routines, that qualify as systematic. If only time stood in our way of creeping up to the fringes of the lauded performers, it raises the question of how to overcome the multitudes of difficult requirements involved, before earning the right to stand with the giants of the steel guitar.

Nic du Toit · From: Milnerton, Cape, South Africa

If only time stood in our way of creeping up to the fringes of the lauded performers, it raises the question of how to overcome the multitudes of difficult requirements involved, before earning the right to stand with the giants of the steel guitar.

A very interesting question. I'm sure that,if asked, the great players would reply that their measure of greatness did not happen over the past year, or two. If fact, most of them started at a single digit age, practicing every minute they get, and played with so many various group set-ups, various genres of music.....in short, they have been thrown into the 'deep end' so many times that survival was the only way out. They also expanded their theoretical (music)knowledge and equipped themselves with other necessary skills to ensure they stay at the top of their game......and then it's practice, practice, practice, as they are expected to always turn out work of top caliber as is expected of them. It is tough going to continually have to be at your best....ask any top notch ball player, film star.....you name it.
_________________
1970 P/P Emmons D10 flatback 8x5, BJS Bar, J F picks, Peavey Session 500, Telonics pedal. Boss GX700 effects.
Skype : nidutoit

Ray Montee · From: Portland, Oregon (deceased)

I've practiced extremely hard for many, many years.

But these last 5-6 years, a practice session is pure drudgery. Having had the good fortune to play in some really good bands (6-7 pieces) and/or with really exceptional accompanists from time to time, trying to get on with something new, is really difficult for me.

The only way I can see to do it is with rythm tracks but therein lies my dilema.

I've had Band in a Box for about 7-8 years now but just can't muster the enthusiasm to devote the necessary time to learn how to make all the neat tracks that some of you have. My 8-track TasCam has also sat, untouched by human hands for nearly two years, already.

Will Vitamin B-12 do the trick? OR, what might YOU recommend?

Robert Harper · From: Alabama, USA

Burn Out Happens, we all become fatigued with what I call a rut. A person like youself that has played many years has to be affected by burn out. Maybe a new tunning would help, or a different Genre of music. Western Swing, reggae, creole or different style I would suggest a different, well never mind
_________________
"Oh what a tangled web we weave when we first begin to deceive" Someone Famous

Bill Hankey · From: Pittsfield, MA, USA

Nic, Ray, and Robert, your replies are all very interesting, and very much appreciated. I always regret that the limitations of forum exchanges make chance meetings very rare. The so-called ruts, or slumps can be reversed, depending solely on expanding newfound friendships. Finding oneself bored stiff can happen at a very young age. More mature folks who get sidelined by activities that are contrary to further musical development, are made aware of the lack of interest as soon as the urge to play is restored. The implacable dream that resists our wishes to manage the passing of time, may affect the premature desires that we once knew. The rewards can become fewer with the passing of time for many reasons unrelated to music.

Tommy Shown · From: Denham Springs, La.

Bill, I have had that happen before.Working the overnight shift at my "day job" has really put a cramp on my practicing. Until my scheduled days off.
Then I have to deal with errands that my wife has me to do and a grandson to deal with.I know my skills have deteriorated some what. So I do try to set some time aside to practice.
Tommy Shown

Bill Hankey · From: Pittsfield, MA, USA

Ray Montee,

Sustained practice can go either way when life turns sharply to the left, while your intentions were to maintain the freedom of making the best choices in proceding on an unrestricted course. Because we tend to lose sight of the many options available to us, we should delay any separation of musicianship, to the very last moment of life. It's unthinkable to ever abandon the instrument that has provided us with so many pleasures, by producing endless and challenging melodies. Just the pleasure of accepting the challenges one by one, is reason enough to resolve any negative impending thoughts with vigor. Try to muster up the determination to keep the steel by your "side" for as long as you may live.

Bill Hankey · From: Pittsfield, MA, USA

Tommy S.,

It would be nearly impossible to comment on lifestyles that include discussing marital issues in the same breath, by attempted guising through the lack of prudence on my part. Marriage is the final "frontier" in making decisions that are musically related. If I may be granted the liberty to comment, it becomes a 50/50 arrangement the moment you say "I do", and the ring is placed on the finger.

Bill Hankey · From: Pittsfield, MA, USA

Nic du Toit,

Is South Africa teaming with steel players? In parts of The U.S.A. they can be found in limited numbers. So little is known of actual numbers throughout different parts of the world.

Nic du Toit · From: Milnerton, Cape, South Africa

Every now and then I become aware of a steel player in some part of the world not normally associated with the steel...... I believe there's even one in Indonesia...
As for South Africa.....I can think of only seven (7) people. At most I reckon not more than 10. About a third of those can play the instrument reasonably well, the others are owners of steel guitars. Laughing

Here by us there is just about no scope for steel guitar, and one just have to keep on slogging at it in a back room, all by your lonesome self! Oh Well

Bill Hankey · From: Pittsfield, MA, USA

Nic du Toit,

How very interesting! Your comments about the scarcity of players who adapt to the necessary requirements appear as absolute truths. Who wouldn't be interested in furthering the subject matter? In these modern times of instant communication with musicians in faraway places, the opportunities to dwell on seemingly absurd situations have never been right at our fingertips, until now. Relevancies that apply in specified locations, could be brought to the attention of interested groups through communicative parties who are concerned with cultural anthropology. Most assuredly, the steel guitar will always represent American ingenuity. Perhaps as time passes, some of the lost arts will fade as if to be lost forever, while the steel guitar in its current state of infancy will become popularized worldwide. Your comments, about owning a steel and becoming a player of the instrument ARE interesting. I enjoyed its literal meaning more than one can imagine.

Bill Hankey · From: Pittsfield, MA, USA

Nic du Toit,

Trying to reply with one eye open, causes me to miss some of the things going on around me. If I'm not careful, I get balled up on past and present in writing. It becomes unnerving to pick up errors that should have been noticed with first readings. Please excuse errors in my grammar. There is simply more to learn, and one lifetime is not nearly enough time to scratch the surface on things that matter most. The study of music is a perfect example of our limitations. My original statement declaring that there never has been a stringed instrument that was perfectly tuned remains as valid, until someone offers to disprove the theory. IMO, temper tuning is another perfect example of buffoonery. At some point, I predict that members will hear me "really" good, when I pick a time to focus on this tuning issue.

Nic du Toit · From: Milnerton, Cape, South Africa

Maybe the question should be: When is an instrument considered to be in tune; and in relation to what? (Here comes the inevitable 'can of worms'!)
Let's assume we are talking about 'Western world' instruments that predominantly uses 440hz as the fixed starting point. Does it that mean that an instrument in tune with itself,and played solo, is also 'in tune' with the other instruments when used in ensemble? Any instrument releases 'stray' harmonics/overtones which could have an impact on the perceived 'in tune-ness' of the next instrument!!?? Are we now moving in the direction of 'Sympathetic Tuning'?
I have met a guy who had no idea that his steel was 'out of tune'. Listening to himself play was never a problem to him. After me tuning his steel, he commented: "wow, what did you do?....my steel sounds different". Notice he did not say that it sounded more in tune!
So, by using all the tools available, would it be a more pleasurable experience to listen to a well tuned group of instruments, than to a group that's not so finely tuned?
Ah!!!....the art of making music that's enjoyable to the average listener who does not necessarily have to have the knowledge or awareness of what it takes (Tuning, arranging, skills level,etc.) to produce such heavenly sounds!
So, if it sounds in-tune; then its' in-tune. (Or perceived in-tune-ness)
I reckon that we should take the various methods of tuning as a good starting point for final adjustment to be made when playing together with other instruments.
Coffee break!
_________________
1970 P/P Emmons D10 flatback 8x5, BJS Bar, J F picks, Peavey Session 500, Telonics pedal. Boss GX700 effects.
Skype : nidutoit

Bo Legg · Posted 20 Apr 2009 5:13 am

Why would a retired or semi-retired person who plays PSG need to beat them selves up over whether he or she practices?
If you’re struggling with yourself over practice you’re not enjoying the practice.
Just do what you enjoy with the Steel and practice being happy.

Nic du Toit · From: Milnerton, Cape, South Africa

Bo,
I reckon after all is said and done, you hit the nail on the head!
It's so easy to loose sight of the bigger picture, i.e. just enjoy playing the steel....
Nic

Bill Hankey · From: Pittsfield, MA, USA

Nic du Toit,

The broad expanses of pitch disturbances easily overwhelm beginners as well as sagely players of the steel guitar. From the start, tuning issues become as nuisances, robbing, distracting, and causing one to devote practice time retuning excessively. There are specific reasons for the multiples of disruptions that plague beginners and pros alike. One of the many reasons for the mulish similarities of the steel strings, and their common departure at intervals, lies mainly in the characteristics of STEEL. Its tendency to expand and contract with temperature changes, is higher than most common metals. Any novice can readily experience the changes, if done properly. Step one, plug in a hair dryer and wave it a safe distance over the metal strings. Check your tuners for the results before and after. To bring tunings into compliance with preferred desirable levels, studies of utilizing a more stable metal than steel will be required.

Bill Hankey · From: Pittsfield, MA, USA

Bo Legg,

I can't imagine treating a musical experience in such a nonchalant manner.

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