How To Play Pedal Steel Guitar

Barry Hyman · From: upstate New York, USA

I have a new psg student; I made this outline summarizing what I think is important for beginner or expert steel players. (Including things that I learned the hard way by doing it wrong at first!)

PEDAL STEEL

Left Hand:

middle of bar centered over the fretline

bar parallel to the fretline even when sliding

gentle even pressure on bar end-to-end

muting behind the bar (with less pressure!)

no guitar-style vibrato! roll the bar, don't shake it!

practice 2-fret backslides, especially on the high frets

lifting bar is optional; possible but not necessary

Right Hand:

minimum three tools, four or five are better eventually. thumb, index, and middle to start

explore different grips (don't stay forever on strings 3, 4, 5, and 6)

muting (AKA blocking)

fingerpicking (arpeggios) vs. plucking (simultaneous)

harmonics

don't watch the right hand! watch the left hand!

grips, inversions, and voice leading

picks or no picks? skin or fingernails?

move right hand right to left to change tone! don't get stuck in one place tone-wise!

Left Foot:

default left foot position centered behind A+B pedals, with left heel maybe behind C pedal

must be able to do A+B, or just A, or just B, without moving the heel (or knee!)

must be able to move knee levers without moving foot!

soft and gentle even when moving fast! don't stomp them!

Right foot:

half to two-thirds way down is default resting place on volume pedal

don't use it much or don't use it at all

must be able to move right leg knee levers without moving volume pedal

practice with volume pedal disconnected now and then

don't pick hard AND stomp the volume pedal at the same time!

Knees:

smooth! gentle! gradual! not jerky...

Theory:

this is where chords and scales intersect

practice three kinds of single note scales â€“ vertical using pedals/knees (as in G major all at the 3rd fret), vertical using bar slides instead of pedals/knees (as in G major all NEAR the 3rd fret), and horizontal (all on one string, at many frets)

practice parallel thirds and parallel sixths, with and without pedals/knees. with pedals and knees you can stay on the same pair of strings; without pedals and knees you have to keep changing the grip every time the interval between the two notes changes

practice chord scales including diminished triads

start with three major and three minor chord positions (G at 3rd fret, 6th fret, and 10th fret; E minor at 3rd fret, 8th fret, and 10th fret)

practice scales and chord scales for major, minor, dorian, and mixolydian

explore harmonic minor scales, chords (including augmented and diminished seventh chords), and chord scales

learn blues slide licks â€“ blues licks are usually easier with the left hand than with pedals/knee levers

the ultimate goal is to play rhythm and lead at the same time, by modifying chords with notes from the scale; for any given chord you choose the fret, grip, and copedant that allows you to modify that chord to get the melody notes you want to superimpose over it

Posture:

chin up and back

shoulders back

elbows down, relaxed

try not to get too uncomfortable while looking at your left hand
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I give music lessons on several different instruments in Cambridge, NY (between Bennington, VT and Albany, NY). But my true love is pedal steel. I've been obsessed with steel since 1972; don't know anything I'd rather talk about... www.barryhyman.com

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

I see two things that I disagree with.

1. Vibrato. Rolling the bar is not the only way to do vibrato. What you refer to as "shaking", i would assume you are talking about moving the bar slightly in a linear motion as opposed to rolling. Sliding the bar for vibrato is a necessary technique to learn. In my opinion, as important as rollin the bar for vibrato. After all, sliding the bar never hurt John Hughey.

2. The volume pedal resting place being 1/2 to 2/3 will be different, depending on brand, and the individual. I for example, have a small amount of signal flowing through my volume pedal. So, my resting place is around 1/4 down. I get more headroom that way. Teach them that those positions are what works for you. They may be different.

I didn't read the theory section, but the rest looks OK to me, except the above topics.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

Mike Wheeler · From: Delaware, Ohio, USA

Well laid out, Barry. I agree with all you wrote.

Richard, a student should learn what the teacher teaches FIRST. Any teacher worth his salt will adjust his instruction to accommodate the needs of the student.

I know the trendy thing nowadays is to claim the "do it your own way" method of learning, but I think that will only delay a student's ability to learn. And we do a disservice to newbies by advising this thought process.

Richard, I don't claim that you are espousing the above. I guess your reply just triggered my "irritation button". Guess my age is showing, eh?
Whoa!

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Best regards,
Mike

Rick Barnhart · From: Arizona, USA

Barry, your syllabus seems very well thought out. Reading your method of rolling the bar, made me think of some advice I found in an old Ray Montee post, quoting Mr. Boards, describing Jerry Byrd's method of vibrato:

Ray Montee wrote:
But as Mr. Boards stated above, JERRY BYRD's vibrato was described by JERRY, as being most like using a rubber pencil eraser. You hit the note and then you 'rub' the eraser over the dot you're wanting to erase. Doing it SMOOTHLY and 100%controlled, can produce for you a wonderful sustaining sound......second to none.
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Clinesmith consoles D-8/6 5 pedal, D-8 3 pedal & A25 Frypan, Pettingill Teardrop, & P8 Deluxe.

Ian Rae · From: Redditch, England

Barry, is this document for your own reference or will the student see it?

I agree with what Richard says about vibrato - that there's more than one way - but I also agree with Mike about the danger of the what-works-for-you approach. It's ok amongst those who have played a while, but the beginner needs a "right way" as a point of reference.

I taught trombone the way my teacher taught me. I didn't always play that way (unless I spotted a student in the audience!)

Rick, the eraser thing really makes you think about what you're doing.
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Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs

chris ivey · From: california (deceased)

Mark Eaton · Posted 1 Sep 2015 10:19 am

Dustin Rhodes · From: Owasso OK

Hal Braun · From: Eustis, Florida, USA

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Yet, we still see posts about people taking lessons and people complaining about a new player only learning what the teacher knows. Players who were around when Jeff Newman was giving seminars, pretty much learned how he played. A teacher early on will make a new player not learn "bad Habits", unless the teacher has those "bad habits" in his playing.

But I do agree that a teacher will help a new player. But I would also expect my student to learn other ways to do stuff, and figure out what works for him.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Mike Wheeler · From: Delaware, Ohio, USA

I guess I touched a few nerves with my comments. Oh Well

That was not intentional.

I'm not trying to start a fight, or even a controversy. All I'm saying is that, in my opinion, a student needs to be guided as to how to make these machines work, and what techniques make that happen effectively. And a having good teacher is the best way for a newbie to do that.

I've never met a good teacher that thought he had all the answers, or that would try to teach every variation. But, once one has been taught, and understands, the reasoning behind the needed techniques, the student is more adequately equipped to explore improvements, or alternative methods.

Of course some think we should all just figure it all out like the greats did. Well, do you think they didn't study the masters of their time, and copy their techniques and methods? Of course they did. And with that info under their belt they began their journey of exploration and development. They built upon what they had learned from their mentors, and came up with their own better ways of playing.

I'm sure some will disagree with what I've written, so be it. We all have a right to our opinion. This has been mine. And I still like Barry's well rounded approach.
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Best regards,
Mike

Lane Gray · From: Topeka, KS

I like Barry's approach. I disagree about the vibrato, BUT I think a newbie should be taught ONE way of [whatever] at first, because of the confusion of keeping two competing techniques separate.
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

A couple of videos of Tommy White, and the second one, Tommy with Mike Johnson. Notice they both use both vibrato techniques. Hard to argue with these guys.

https://www.youtube.com/watch?v=qBgXWsmrT3E

https://www.youtube.com/watch?v=1xkwrz9ph9I

You can probably take any player's video and see both types. I see sliding vibrato much more than I see rolling.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

Mike Wheeler · From: Delaware, Ohio, USA

Nobody has said experienced players can only use one variation of a technique. We're talking about students and their teachers. What's your point, Richard??
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Best regards,
Mike

Edward Rhea · From: Medford Oklahoma, USA

As a student, I think you've hit on the majority and possibly the most beneficial points for playing PSG, Barry. Although I'm am not your student, it's a great list of goals/reminders for any player, many of which my own instructor has repeatedly pointed out/corrected me on.
Oh yeah, "keep your elbow in, you're learning to play a PSG, not fly one!"(followed by a stern whack from a pedal rod)

Mr. Green

Ian Rae · From: Redditch, England

I've only slid the bar up till now (because I play trombone and therefore do it without thinking) but having tried rolling it I can see the difference. Sliding is great if you're playing swing and want a brash style like a horn section, but for a slow melody I'm thinking that rolling is more thoughtful. For one thing you get much less pitch change for the same amount of finger movement, and I also wonder whether the lack of friction helps the sustain.

So yes, experienced players use both but beginners (in my view and this applies to all instruments) should learn to play in tune with no vibrato before they are allowed to woodle about.

Edward, one reason I retired from teaching is that corporal punishment was no longer in fashion.
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs

Michael Hummel · From: Ottawa, Ontario, Canada

First time I've heard the word "woodle", and I love it!

I, like most new students, am dying to emulate the sound I hear and so desperately want to be like. But I agree; it's hard enough to play this thing with good intonation for the first n years, never mind get the vibrato right.

Mike
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MSA Classic 5+4
Too many 6-strings and amps to list

Dan Robinson · From: Colorado, USA

Both vibrato techniques have their place. If you master the "rolling" method then learning the other style is not hard. The reverse seems more difficult.

Definitely not a deal breaker, and I would hate to discourage anyone who wants to learn PSG.

"My karma ran over your dogma."

Dan

Donny Hinson · From: Glen Burnie, Md. U.S.A.

That's all very good, Barry, and well thought-out. Smile

The only thing I would recommend is to ask the player what they hope to accomplish when you're discussing theory. Some players just want to learn simple country stuff and backup, so they may get frustrated if you delve into stuff like mixolydian and dorian scale modes, or simply practicing scales. (The few beginning students I've had were more interested in playing songs and just getting different sounds and textures than they were in doing repetitive exercises.)

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Ian Rae · From: Redditch, England

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

We can all put this to rest by asking Barry how many of his students follow that lesson plan (it's actually fairly good) without coming to the lesson saying "so an so' played this great lick on "so an so's" song. "How do you play that?". I've had around 10 students over my steel guitar life, and not one has ever wanted to not stray from what I was going to teach him that day.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

Lane Gray · From: Topeka, KS

Richard, to a beginner still struggling with all of the hard bits, I agree that "competing" was a poor choice of words.
But to introduce multiple ways of achieving the same effect DOES add an extra layer of complexity.
Add the second (or additional) techniques later.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

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