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Topic: Suggestions for backing the singer/song course material? |
Karlis Abolins
From:
(near) Seattle, WA, USA
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Posted 19 Mar 2020 11:30 am |
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I have recently returned to the pedal steel after an hiatus of several years. I have no problem playing the melody of songs. What I need help with is backing the singer/song/instrumentalist.
For those of you who have course material related to this, please offer suggestions. I am looking for the strategy of backing as opposed to a bag of licks that I can plug into a song at random. Once I learn the principles of backing, I can develop my own bag of licks. I am looking for the "when to play" and "why this or that works" approach as opposed to "play this lick when the singer pauses".
If you have this kind of course material, please let me know.
Karlis |
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Jeff Harbour
From:
Western Ohio, USA
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Jim Cohen
From:
Philadelphia, PA
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Posted 19 Mar 2020 1:28 pm
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Jeff Newman had a course on that, which I'm sure is very good. Maybe you can buy it used from someone. I wouldn't advise trying to buy it from jeffran as their business appears to be unreliable and people have lost money.
_________________
www.JimCohen.com
www.RonstadtRevue.com
www.BeatsWalkin.com |
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Skip Edwards
From:
LA,CA
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Posted 19 Mar 2020 2:46 pm
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I was given this pearl of wisdom by 3 of the greats...
Try to not play on the downbeat of every chord change or first beat of every bar... meaning wait for the singer to say their line and then play something...hopefully to compliment the vocal.
And not to be afraid of playing single note lines...and play melodically.
If they're singing low range, play high... & vice versa... |
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Norman Evans
From:
Tennessee
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Justin Emmert
From:
Greensboro, NC
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Karlis Abolins
From:
(near) Seattle, WA, USA
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Posted 20 Mar 2020 7:14 am
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Thank you for the insightful responses. I looked in my library and found that I have the Mel Bay book. I reviewed it and realized that it is too short on the when and why aspect.
I find that if I know the why of something, I can easily get into the mechanics, but without the why, I am lost and find myself floating around aimlessly.
I realize that most of you have spent years learning the things I want to learn. I don't want a shortcut to that; I just want to get pointed in the right direction so that I can learn the right things.
I will take a look at Paul Franklin's sample course to see if it will help get started.
Karlis |
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Jeff Harbour
From:
Western Ohio, USA
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Posted 20 Mar 2020 12:03 pm
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| The best thing I ever did for my playing, particularly as a backup player, was buy a Tascam digital recorder. I recorded many live performances of mine with various groups, and on some occasions personal practice sessions as well. If I was in a period of infrequent gigs, then I would record myself playing along with the radio. The result was that when I listened back, my subconscious critiqued my playing against all the great steel playing I've ever heard. Along the way I found many things that I thought would work, but didn't... and many other things that I never would've guessed surprisingly worked well, and naturally made mental notes of both. After years of doing that, I am now very satisfied with my playing every time... A lot of it just happened naturally once I started hearing it for myself. Just don't forget to listen to as many great players as you can! |
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Curt Trisko
From:
St. Paul, Minnesota, USA
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Posted 20 Mar 2020 1:47 pm
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Are you referring to how to use the steel guitar to build the flow and tension of a song? That skill probably isn't unique to steel guitar and you will find the same principles for many accompanying instruments.
I don't know how good I am at this or whether anyone should learn from me, but I first imagine my accompanying part in the absence of the vocal part - thinking only of the mood of the song. Then I overhaul it to accommodate the vocals. The chord formulas are the foundation of the song, not the melody, so it seems to work.
Even for the smartest, most musically-gifted people, learning when to sacrifice a steel part you like because it doesn't work with the vocals takes a lot of maturity and humility. It's more emotional than intellectual, so there's probably no lesson for that - and your own ear must be the guide.
If you are just talking about music theory, then I think it comes down to learning a new aspect of theory and then trying it out on steel and finding little licks you like that incorporate it. I have found that with the bright tone of steel, many phrases that play on dissonance don't work as well on steel guitar as other instruments.
The last thing I have to say about backing a singer is VOLUME PEDAL. |
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Jim Cohen
From:
Philadelphia, PA
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Fred Treece
From:
California, USA
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Posted 21 Mar 2020 10:07 am
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Karlis asks the question “Why” to play something on steel in a backup role. Curt gave what I think is a very thoughtful and appropriate response, including a shot at “Why not” play something. I took liberties to edit and make it more concise.
| Curt Trisko wrote: |
Use the steel guitar to build the flow and tension of a song - thinking only of the mood of the song.
Learning when to sacrifice a steel part you like because it doesn't work with the vocals takes a lot of maturity and humility. It's more emotional than intellectual, so there's probably no lesson for that - and your own ear must be the guide. |
The “why” is the most philosophical and subjective question on doing anything. The answer can be as simple as “because I’m being paid to do it”, or more complicated like “I think this bluesy fill works perfectly at the end of the chorus, even though this is a sweet sounding diatonic ballad, but the producer hates it and the singer loves it.” |
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