Stifling Melodic Expression Progression

Bill Hankey · From: Pittsfield, MA, USA

Could we express chord melody as a means of improved technique while playing the steel guitar? This method would bring the ring finger into action to manage the 4 tone chords. Dim. 7th, is a fine example, as well as a major 7th. Actually, the pinky, or "little" finger can be put to work to access the ultimate in chord progression.

richard burton · From: Britain

I always find that the more notes played at the same time, the muddier the whole thing sounds. Just my opinion.

Charlie McDonald · From: out of the blue

I agree, Bill. Awareness of the leading tone is important on psg, just as in piano.
A chord doesn't have to be muddy if the leading tone is brought out properly.

David L. Donald · From: Koh Samui Island, Thailand

It all depends on your backing.
If it is open and uncluttered
then more voices are posible
and often warrented.

I think if guitar players can play all 6 strings,
and Buddy can sweep the strings,
what's hloding me back from larger voicings.

Dr. Hugh uses all 5 fingers,
and I use 4-5 a lot especially for C6.

If it fits context, no foul.

Dave Mudgett · From: Central Pennsylvania and Gallatin, Tennessee

I agree, Bill - I argue that, in the right hands, pedal steel has many of the features of both piano and guitar - chord melody is an important style on both - but steel has some nice features not available on either.

I agree that it's possible to get muddy with too many notes, especially when they're close together - although there's a place for complex closed voicings, IMO. But if one opens up the voicings and brings out the melody note strongly, I don't think it has to be muddy at all. It's one of the big reasons I switched to use picks on 4 fingers on a universal - it also gives a bit more reach between the lower and higher strings. In addition, the brilliance of the typical steel guitar helps tone down this muddiness.

Of course, playing this style requires quite a bit of sonic space - I don't usually try to approach things this way in a cluttered band setting. But playing in a stripped-down setting, I love to work on this. There are really two reasons I started playing pedal steel - first, the exquisite beauty of single sustained notes or chords. But second, the amazing harmonic possibilities, especially being able to smoothly bend into notes in complex chords.

Charlie McDonald · From: out of the blue

As on a piano, the pinkie can be trained to do just as much.

Ray Minich · From: Bradford, Pa. Frozen Tundra

Yea, Joe Wright's stuff promotes the use of the ring finger, and it scares the hell out of me...

Bill Hankey · From: Pittsfield, MA, USA

Thanks fellows for supporting the notion that some melodies allow for full chordal arrangements. Choosing the easiest course of action, may be less desirable, if by adding an octave tone, renders the melody more listenable. Take for example Buddy's chorus ride while playing "The Other Woman" on the E9th neck. It's mighty pretty stuff, but try adding the 6th and 10th strings to the 3rd and 5th and see if you agree that octaves can make a difference. The booming resonance of the 10th string is a good and effective variation of that beautiful rendition.

Don Barnhardt · From: North Carolina, USA

Anyone accomplished enough to use four and five note chords has my deepest admiration. It's all I can manage to do three note/finger stuff.

Al Marcus · From: Cedar Springs,MI USA (deceased)

Bill-Good post. Glad to see you back with such interesting posts.

Reece got me to use 4 picks instead of 3 aobut 35 years ago. There is so many full more complete chords you can play with that configuration.
Blocked chords, big band style, with melody on top is what I like.

I got a lot of good ideas from Reece, a great musician, Steel player,and a fine person...al

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My Website..... www.cmedic.net/~almarcus/

Bill Hankey · From: Pittsfield, MA, USA

Al M.,

This Steel Guitar Forum has carried messages far and wide, including the overseas hard to reach areas. There is no better way of communicating with so many, who share like interests in the steel guitar. There is always something to learn here on this forum, on a daily basis. I'm aware that Maurice Anderson stands tall among the most accomplished steel guitarists in our land. It's always a pleasure to read about his accomplishments. The wide grip full chords that you have applauded, is very encouraging, when taking into account, that it does represent serious practice sessions. There is no better means of arriving at a style that carries with it, a delivery of personal expression. Advancement, rather quickly, on the steel guitar, is unusual, and although there have been many who have done so, the instrument's complexities will offer many challenges. Reaching some degree of mastery of the steel guitar, should be the goal in providing personal satisfaction, and to reflect a serious effort of trial adaptation to the instrument.
The subject of added chordal tones is unavoidable in the language of musical expression. The single and double string glisses combined with bar slants, can produce exquisite tones, but the need for the somewhat harsh diminished 7th chords, major sevenths, minor sixes, etc. warrants further study. Accessing melody lines are much less difficult and comfortable through chordal selections.

Pat Kelly · From: Wentworthville, New South Wales, Australia

Bill,
The instrument is mainly played in ensemble. The necessity for "full chords" is then somewhat diminished (no pun intended.) Solo playing (something of a rarity) may call for different arrangements. A string quartet for example may voice complex chordal arrangements with each instrument sounding one,or at most two tones, at any one time. As b0b amongst others has pointed out (in similar discussions at other times) - if the bass has the root and the lead the melody - an accompanying chordal instrument has only to find the remaining notes to fill the chord.

worth discussion

Pat K

Bill Hankey · From: Pittsfield, MA, USA

Pat K.,

Whoa! Hold up a bit, whilst I parry the seemingly exuberant expose' that would detract from a proven method of melody expression. By contrast, a whammy stringed progression will do more than resound forcefully as an entity in an ensemble. It serves notice that there is more to playing steel guitar, which has become standardized, with thin melody lines, by simply adding bass notes.
Then, reminiscing to players of the past, think of Alvino Rey! Who's to say his style was easily duplicated? Correct me if I'm wrong, was he not at his best in an ensemble? His raking of the strings became widely accepted amongst fellow musicians. Thanks for reviving the thread, and restoring the essence of truly controversial issues.

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