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Topic: logic of the neck |
Peter Goeden
From:
Aspen Hill, Maryland, USA
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Posted 15 Dec 2004 6:00 am |
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I know that music in general and the pedal steel in particular can't be fully 'understood' in one's head apart from playing. However, if that WAS possible, what book would come closest to providing a complete theory of the psg neck (E9) and psg playing? Your recomendations appreciated.
PS. Concepts such a the relationship between two-note harmonies and the cords that they derive from, the location of scales, substitution cords, 'thinking one move ahead', etc. [This message was edited by Peter Goeden on 15 December 2004 at 09:57 AM.] [This message was edited by Peter Goeden on 15 December 2004 at 10:00 AM.] |
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Ray Minich
From:
Bradford, Pa. Frozen Tundra
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Posted 15 Dec 2004 6:37 am
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| Winnie's & Scotty's tied together in a big 3 ring binder. [This message was edited by Ray Minich on 15 December 2004 at 06:37 AM.] |
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Bob Hoffnar
From:
Austin, Tx
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Posted 15 Dec 2004 7:00 am
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Joe Wright's Excel spreadsheet program opened quite a bit up for me.
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Bob
intonation help
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John McGann
From:
Boston, Massachusetts, USA * R.I.P.
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Posted 15 Dec 2004 8:16 am
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I'm a theory guy (I'd better be, since I teach at Berklee). These books have been a huge help to me:
Joe Wright's "My Approach" book has some great ways of looking at the setup of any tuning. Major food for thought all through this thick book- there are tons of ideas for the thinking guitarist.
Crawford/Albert C6 Scales and Modes is a good look into C6 pockets...a launching ground that you need to apply to all 12 keys, but that's how you get there...Emmons Basic C6th is great too.
Jeff Lampert's site has great C6th info...Rebel and Ricky's site is a goldmine of classic steel music.
Really, you can't go wrong with any good steel music tabbed out. There is great stuff from John Hughey, Doug Jernigan, Herbie Wallace...many of the greats have their music in tab form.
When I work with tab, I try to get away from it as fast as I can, look at the fingerboard and try to understand what I'm playing from a "notes on the chord" standpoint, and make sure I am hearing the relationship. To me, the tab is just a roadmap, and doesn't really tell you the whole story at all- but it is invaluable in terms of finding where something is played, since there are so many options. Of course, I've also run across some inaccurate tab, so you need to be able to hear the difference!
If you have the discipline to work the ideas through all 12 keys, you'll make faster breakthroughs and "AHA!" moments.
I do a lot of mental gymnastics away from the instrument, trying to visualize chord positions, and keeping track of the notes...it helps fill down time while at the gym, on the subway, etc. Also makes it look like you are listening when your spouse talks to you 
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http://www.johnmcgann.com
Info for musicians, transcribers, technique tips and fun stuff.
Joaquin Murphey solos book info and some free stuff : http://www.johnmcgann.com/joaquin.html
[This message was edited by John McGann on 15 December 2004 at 08:21 AM.] |
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Roger Kelly
From:
Bristol,Tennessee
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Ray Minich
From:
Bradford, Pa. Frozen Tundra
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Posted 15 Dec 2004 11:43 am
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| Can you believe it? 14 dollars & 14 cents. That ain't even keepin up with inflation since 1975. Buy one and dog ear it, buy another and frame it. [This message was edited by Ray Minich on 15 December 2004 at 11:45 AM.] |
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John McGann
From:
Boston, Massachusetts, USA * R.I.P.
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Posted 15 Dec 2004 1:22 pm
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I only didn't mention Winnie and Scotty as they were already...that Manual of Style is now available with CD from Jimmie Crawford's site and is a fantastic book as well; it was Winnie's 2nd book with some help from his friends, and a great compliment to his first book w/ Bill Keith which many of us consider The Big Book!
Peter, many of the musical concepts you mention like two notes scales etc. for me seem clearer when learned on another instrument and then applied to the steel- if you work stuff out on guitar, say the vertical harmonized lines you might play in E9 on strings 4 + 6- when you see how those notes lie on the standard guitar fingerboard, and how you have to move your fingers to accomodate the changing intervals, you get another perspective of what's happening with the pedals and levers.
YMMV, but I'm glad I am able to apply musical concepts I've learned (somewhat) independent of the instrument...[This message was edited by John McGann on 15 December 2004 at 01:27 PM.] |
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