Details of Splinted Harmony

Dan Neave · From: Queensland, Australia

Hi fellow members,

In regards to the below information from Tom Bradshaw on the definition of splinted harmony in relation to Lloyd Greens playing is there a common note that is taken from his chords to make new chords in his music? My thoughts are you would probably be taking the 3rd or even the 7th from an existing chord over to make a new chord more so than the root or another note from the diatonic scale?
Any songs and time stamps with example s of this technique would be appreciated also. I have learnt ‘So Sad’ from Lloyd Green which has multiple interesting techniques of his but specific songs where I can hear this ‘splinted harmony’ concept would be appreciated, along with a more detailed explanation than I can find on this forum so far.
Find below the definition from Tom Bradshaw:

The "Splinted Harmony" lick is what I called a nifty little trick that Lloyd would pull off that would make me consider putting a match to my guitar. He did that all over the place and drove other steel players nuts until they began doing it. He would voice a 2, 3 or 4 part harmony chord at one fret, then slide up the neck with only one note from the original chord and string grip being voiced. That note would be the most significant note of value (or importance) intended for the next chord he would construct at the subsequent fret. It was not just a glissando, it was as if he took the core note of one chord and was able to make it the dominant note of the next chord. How did he know what note that was going to be before he dropped off the unwanted notes of the first chord? The guy was amazing. I must have worn out my picks duplicating some of those chord changes but could never figure out how he knew which note to select as being the "soul" note for the next chord. He was able to discard tones not needed in one chord, but knew which note was going to be needed in the next chord, kept that note voicing throughout the movement of his bar, then added the needed notes to properly construct the next chord. So, the thought came to me that he was forming a "splint" between one "limb" of a chord and adding the proper "limbs" back when he got to where the next chord was. Maybe it was a silly title, but I couldn't think of anything better at the time to give him credit for what I thought was so innovative that it needed a name, and, he needed credit for doing it. Now I know that prominent steel players do this all the time today. Back then though, it was just mind-blowing. I was in awe of Lloyd just like everyone else, when he was creating his title of "Mr. Nashville Sound." So, that's the story.

J Fletcher · From: London,Ont,Canada

Interesting . Be nice to hear some examples . I am familiar with the technique of sliding a chord up or down , adding or releasing pedals or levers as you do so , and then striking another string when you get to your target . But the "splinted" technique is unfamiliar .

Fred Treece · From: California, USA

Ricky Davis would be the guy who could probably provide some clips or tab of Lloyd’s playing (or his own) that demonstrate what Tom Bradshaw is describing. Or maybe Tom himself. They are both forum members, so you could message them here.

I can tell you that this “splint-chording” involves some basic music theory. You have to know which notes in the current chord will work in the next one. The first and most obvious choices would be to look at the 1-3-5 triads of both chords and find the shared tones. 7ths and 9ths, too, if you fancy.

If you’re playing a C to F chord change, C is the shared tone:
C-E-G / F-A-C

If the change is Dm to G7, D and F are shared tones:
D-F-A / G-B-D-F

Choosing an inversion for voicing those chords means everything if you are sliding up, because the one note you have chosen to sustain over both chords will have to involve a pedal or lever being engaged or released on the way up without screwing up the target chord.

If you are Lloyd Green, these options became second nature over time. But when he was developing his technique and executing new musical ideas like this, you can bet he put in some seat time figuring out how to make it work.

Andrew Frost · From: Toronto, Ontario

Playing a chord voicing and then sliding one note up to be part of the next chord?
What am I missing here? Surely I'm overlooking a key part of this technique... Question

Fred Treece · From: California, USA

That’s why I only gave theoretical examples, Andrew. I couldn’t think of very many ways to actually do it. One would be a G chord (minor or major) at fret 6 (pedal A) sliding into a C chord at 8; you could sustain a G note on string 10 or 5 over both chords by releasing the pedal as you slide into the C chord position.

Jerry Overstreet · From: Louisville Ky

I was not familiar with the term Splinted Harmony. MOF, I passed over this thread several times because I didn't think it would be something that would interest me... but...I'm glad I looked in.

I understand it completely when it comes to Lloyd Green's playing. He's the first I ever heard do that and he does it to perfection same as everything else he does. It's an ear grabber for sure.

He might use the same note, on different strings, while he does 2 or 3 of these moves in succession.

It's hard to explain maybe, but if you listen to Lloyd's playing long enough, you'll hear it in one of his tunes.

I have a few places in some songs, generally slow ballads, where I attempt it as well, but execute to a much lesser degree. Embarassed

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