Exploring Counterpoint Techniques on Pedal Steel

Lola Saura Jimeno · From: Spai

Hello everyone,

I'm new to this forum and I don't own a pedal steel yet, but I fell in love with its possibilities after watching this video fragment of BJ Cole:

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

I am fascinated by the idea of playing the pedal steel from a contrapuntal perspective. The possibility of working with different voices independently, much like a church choir or a set of contrapuntal voicings, really appeals to me. However, I haven't been able to find much information on this approach. Most of what I've seen about this instrument focuses predominantly on melodic playing (mostly country), and when chords are played, there seems to be an over-reliance on parallel movement (block chords) rather than a strictly polyphonic approach.

Could anyone share examples, albums, or artists who play in this style? Perhaps the instrument and the slide technique inherently limit this kind of playing and I'm just fantasizing. But I would really like to know what possibilities the pedal steel offers in this area.

Thanks in advance for your help!

Jon Light · From: Saugerties, NY

There are few limitations.
And there are lots and lots of examples.
Less about specifically contrapuntal movement (it's certainly there) and more about independent voice movement, let's just start with Buddy Emmons. Here is a live rendition of Shenandoah.

https://www.youtube.com/watch?v=9GllXOgF4DY

Chris Brooks · From: Providence, Rhode Island

And I will add Emmons's classic version of Pachelbel's Canon.

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

Tommy White and Gary Carter are two players who excel in this type of stuff. Wink

There are also many possibilities using pedaled and open strings together on slow songs, but this is not something that is regularly done by most Steelers. I probably use the effect more than most players, but this is because I don't pattern my playing after any single player, which seems to be the norm nowadays. Moving harmonies utilizing opens with pedaled and barred strings allows you to create some beautiful stuff; it's a shame that more players don't do it.

Wayne Drummond · From: Georgia, USA

This site has 4 counterpoint lessons by Bobbe Seymour:
https://www.youtube.com/playlist?list=PL68526492867D791E

Bill McCloskey · Posted 23 Jul 2024 1:21 pm

I would do a search on the late Mike Perlowin's posts. Also check out Bill Hatcher's stuff.

Fred Treece · From: California, USA

Doug Livingston plays J.S. Bach BWV 1002-7 Bouree on steel guitar
https://m.youtube.com/watch?v=2vz_1lC51z0

Bob Hoffnar · From: Austin, Tx

If you look closely at what the great players are actually doing you will find that even the most basic harmonic moves in country music playing are often contrapuntal. Like the playing of a G , C and D7 chord at the third fret on the basic grip strings. What you do musically with that ability is up to you.

Here is something I used to play as a solo piece that lays well on the steel

https://youtu.be/ecUYgmv8QIU?si=Si1fcSkTXcof2sqB

I would also look at the works of Susan Alcorn.

It's funny but it still seems like all roads lead to Buddy Emmons when it comes to innovations on the pedalsteel. If you look at what he was doing beyond just copying his licks there is a wealth of information. John Hughey is worth a study too if you want to learn more about close harmony voice leading.
I gotta warn you though, transcribing those guys is extremely difficult to get right ! There is always some elusive note going the wrong direction.

Or learn where the notes are and play your way through the Bach Chorales. The Chorales have everything hidden in them somewhere.

A really cool thing with the pedalsteel and counterpoint is the ability to phrase each note.

I'm excited to hear what you come up with !
_________________
Bob

scott murray · From: Asheville, NC

lots of counterpoint possibilities on pedal steel. here's a few good examples by you guessed it, Buddy Emmons

At E's

Buddy plays Bach

Touch My Heart
_________________
1965 Emmons S-10, 3x5 • Emmons LLIII D-10, 10x12 • JCH D-10, 10x12 • Beard MA-8 • Oahu Tonemaster

Lola Saura Jimeno · From: Spai

First of all, thank you all so much for your responses!

Jon Light: I really enjoyed Buddy Emmons' rendition of "Shenandoah." It's a beautiful example!

Chris Brooks: Emmons' version of Pachelbel's Canon is fantastic. I appreciate the recommendation!

Donny Hinson: Thanks for mentioning Tommy White and Gary Carter. I will definitely check them out. Your insights on using pedaled and open strings together are very intriguing.

Wayne Drummond: The counterpoint lessons by Bobbe Seymour are what I was looking for. Thank you for the link!

Bill McCloskey: I'll search for Mike Perlowin's posts and check out Bill Hatcher's work. Your suggestions are much appreciated.

Fred Treece: Doug Livingston's performance of J.S. Bach's Bouree is amazing. Thanks for sharing!

Bob Hoffnar: Your insights on the contrapuntal nature of basic harmonic moves are enlightening. I loved your solo piece, and I'll definitely explore Susan Alcorn's work as well. Buddy Emmons and John Hughey are now on my study list. Your advice on transcribing is noted!

Scott Murray: More Buddy Emmons examples Smile

! I'm excited to listen to "At E's," "Buddy plays Bach," and "Touch My Heart." Thank you!

I'm really grateful for all your recommendations and insights. This community has given me a lot to explore and learn. I'm excited to dive deeper into the contrapuntal possibilities of the pedal steel.

Thanks again for welcoming me and for all your help! I wish there was a way I could show my appreciation beyond words.

HowardR · From: N.Y.C.-Fire Island-Asheville

Lola Saura Jimeno · From: Spai

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