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Topic: backup steel mainly passing chordal patterns? |
Sherman Willden
From:
Colorado Springs, Colorado, USA
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Posted 14 Nov 2013 3:04 pm |
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Would you say that steel backup is mainly made up of passing chordal patterns?
Thanks in advance;
Sherman
_________________
Sherman L. Willden
It is easy to play the steel guitar. Playing so that the audience finds it pleasing is the difficult act. |
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Niels Andrews
From:
Salinas, California, USA
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Posted 14 Nov 2013 3:07 pm
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I would say it is based on the melody line harmonically.
_________________
Die with Memories. Not Dreams.
Good Stuff like Zum S-12, Wolfe Resoport
MSA SS-12, Telonics Combo. |
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Calvin Walley
From:
colorado city colorado, USA
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Posted 14 Nov 2013 3:13 pm
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i always play the melody
_________________
proud parent of a sailor
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 |
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Dave Biller
From:
Texas, USA
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Posted 14 Nov 2013 4:40 pm
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| I know a lot of players who don't pay much attention to what the steel players are doing in the background of a tune. That's a big mistake! there's a treasure trove of golden licks in those "fill" verses! |
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Dick Sexton
From:
Greenville, Ohio
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Posted 14 Nov 2013 6:06 pm Would you say that most backup is made of chordal patterns?
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| No, it is everything. Playing back up is an art, not everybody gets it. Personally, I think the more tricks in your bag(knowledge), the more interesting your back up can be. John Hughey was a master of back up, his fill on some songs was way more interesting then the song itself, in my opinion. I don't believe we spend enough time studying fills and how to make the singer shine. We've all seen players that could play a song start to finish, as an instrumental, but then get lost trying to back a singer on a song they have never heard. Or even one they have heard. Playing over the singer or another instrument, when you shouldn't, is hard to unlearn if you've only learned to play the melody. Also my opinion. |
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Rick Abbott
From:
Indiana, USA
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Posted 14 Nov 2013 6:18 pm
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Jeff Newman's beginner / intermediate material shows a lot of diatone (two note) partial chords that follow and even lead the chord chart, and pretty well stay off the melody and singer's timing. He expressed someting like "you only need to be hot for a few seconds at a time, in between the singer's lines." I think the diatones are basically related to a harmonized major or minor scale.
I also believe that either you get it, or not. It is a way of hearing the melody and responding to it in fills and then passing tones to advance the melody while the singer is silent.
Newman's Bandstand Backup is pretty good to see inside the harmonized scale style. JMHO
_________________
RICK ABBOTT
Sho~Bud D-10 Professional #7962
Remington T-8, Sehy #112
1975 Peavey Pacer |
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John Peay
From:
Cumming, Georgia USA
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Posted 14 Nov 2013 9:01 pm Re: Would you say that most backup is made of chordal patter
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| Dick Sexton wrote: |
| I don't believe we spend enough time studying fills and how to make the singer shine. We've all seen players that could play a song start to finish, as an instrumental, but then get lost trying to back a singer on a song they have never heard. Or even one they have heard. Playing over the singer or another instrument, when you shouldn't, is hard to unlearn if you've only learned to play the melody. Also my opinion. |
Man, I couldn't agree more, Dick. "Making the singer shine" is what we're all about in backup situations. I've worked like crazy on learning chord positions, scales, harmonized scales etc....but those are just the tools...backup is soo much more.
My backup playing is just terrible, and so I've been trying to learn to "have a conversation with the singer"....to add some emotional content with my fills... and to keep it simple! |
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Jack Bowman
From:
Washington, USA
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Posted 14 Nov 2013 9:35 pm Re: Would you say that most backup is made of chordal patter
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| Dick Sexton wrote: |
| No, it is everything. Playing back up is an art, not everybody gets it. Personally, I think the more tricks in your bag(knowledge), the more interesting your back up can be. John Hughey was a master of back up, his fill on some songs was way more interesting then the song itself, in my opinion. I don't believe we spend enough time studying fills and how to make the singer shine. We've all seen players that could play a song start to finish, as an instrumental, but then get lost trying to back a singer on a song they have never heard. Or even one they have heard. Playing over the singer or another instrument, when you shouldn't, is hard to unlearn if you've only learned to play the melody. Also my opinion. |
I have played Lead and backup guitar for years and found that there are many ways to fill. In the break you play the melody....in the fill you watch the singer or listen very close...and...if his lips are moving you surpress the volume and play harmonics.....when he is still....you play a passing bit and lead the vocalist to the next line. There are times when you echo the previous line, or bits of it. Like the man says " don't tromp all over the guy who pays you and above all you realize that you aint all of the band!
_________________
5220 Gretsch
Godin A-6
Godan 5th Ave.
Fender 400 PSG 4+2
buncha amps |
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Bob Hoffnar
From:
Austin, Tx
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Posted 14 Nov 2013 9:58 pm Re: backup steel mainly passing chordal patterns?
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| Sherman Willden wrote: |
Would you say that steel backup is mainly made up of passing chordal patterns?
Thanks in advance;
Sherman |
That depends on what music you are playing and your role in that ensemble.
I personally will skip playing chordal patterns if I can find a couple simple single notes that will have the same musical function. I enjoy the challenge of finding the shortest route possible.
Greg Leisz is a real master of knowing how to keep singers happy and make the music beautiful.
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Bob |
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Niels Andrews
From:
Salinas, California, USA
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Posted 14 Nov 2013 10:45 pm
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Dick said it all when he spoke of John Hughey and playing around a singer and fills. I spend hours listening to him and never tire of his playing. I am always amazed when you are ready for something great and he backs off and gives another instrument there space. Definitely one to study.
_________________
Die with Memories. Not Dreams.
Good Stuff like Zum S-12, Wolfe Resoport
MSA SS-12, Telonics Combo. |
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Mike Neer
From:
NJ
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Posted 15 Nov 2013 4:58 am
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| Dave Biller wrote: |
| I know a lot of players who don't pay much attention to what the steel players are doing in the background of a tune. That's a big mistake! there's a treasure trove of golden licks in those "fill" verses! |
It's always been my favorite thing to do, playing behind a singer. It's like instant orchestration.
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Links to streaming music, websites, YouTube: Links |
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chas smith R.I.P.
From:
Encino, CA, USA
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Niels Andrews
From:
Salinas, California, USA
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Posted 15 Nov 2013 5:26 pm
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I liked it Charles, but fire the sound man Please!
_________________
Die with Memories. Not Dreams.
Good Stuff like Zum S-12, Wolfe Resoport
MSA SS-12, Telonics Combo. |
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