Guidance

Vicente Saenz · From: Edinburg, Tx

I recently took a deep dive into music theory to understand the pedal steel better, after a couple of days understanding and applying music theory with the psg I feel like there's a pathway now but my issue is I feel like I've overwhelmed myself learning techniques and theory that I don't know what to practice on first. What are some of y'alls warm ups/ methods of practicing? what comes first?
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Vicente Saenz

Dan Kelly · From: Boston, MA

I learned to play first. I took some lessons and got a number of songs under my belt. This gave me the motivation to improve my technique and learn the instrument. Paul Franklin's course and some printed material really helped.

Now, after ten years, I have focused on a lot more theory. Don't get me wrong, I learned a lot of theory along the way... much of it just by osmosis and exposure to the instrument, and of course Paul Franklin's course is strong on what he calls "Street Theory." But lately, I have taken a music theory deep dive. I bought a keyboard and have taken a couple of semesters at a local music school.

The more advanced theory I have learned has given me more confidence, but at the same time it has shown me just how little I know and how much there is to learn.

At any rate, I wouldn't be where I am today if it were not for the lover of the PSG which was, and is, driven by just playing it. My humble recommendation would be to develop your repertoire of the songs you love and want to play and let the rest come along naturally.
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Hey You Kids! Get Off My Lawn!
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Roger Rettig · From: Naples, FL

In my opinion, a grasp of theory comes with every piece you work on. As the logic (or the math) reveals itself, then experience will broaden your perspective.

Simple things like learning a major and a minor scale will teach you to 'hear' intervals; your ear will develop and, eventually, everything you listen to will remind you of something else, because.....

....there's nothing new under the sun (or, at least, in the majority of pop and/or country music.It's all been done before.

The basics will come easily - 'Ah, Am is the relative minor to C major.' That sort of first-grade theory applies to all music on any instrument.

Therefore, I'd say: 'Concentrate on playing and developing touch and good intonation, volume-pedal control - all areas that are particularly challenging on pedal steel.'
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Roger Rettig: Emmons D10, B-bender Teles, Martins, and a Gibson Super 400!
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Bob Hoffnar · From: Austin, Tx

Transcribe licks or practice scales and diatonic chord voicings. Whatever you practice do it slow and deliberately until you get it perfect. Then learn your perfected phrase on two other places on the neck until you can get it to sound perfect.

Go slow and relentlessly. Use a metronome and make sure your rhythm is accurate and musical. Don’t slop through anything. I wasted tons of time practicing sloppy at first.

Above all play in tune. Without that you got nothing.

The theory will all line up and be a big help if you train your hands and ears.
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Bob

Roger Rettig · From: Naples, FL

Good point, Bob. I have 'sloppy' perfected! Smile

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Roger Rettig: Emmons D10, B-bender Teles, Martins, and a Gibson Super 400!
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Greg Vincent · From: Folsom, CA USA

Thinking of music theory in terms of numbers rather than letters opened up huge vistas for me in recognizing patterns in music —otherwise it quickly becomes alphabet soup. The number system also works out very well for steel guitar; I believe that’s because all chords have the same “shape” on the instrument.

It’s also handy to have a keyboard nearby, as all the notes are very logically laid out in that format, and it’s easier to grasp certain concepts (such as relative minors) on a keyboard.🎹

But I agree with those here who advise that playing your instrument —and playing in-tune— is top priority.

Roger Rettig · From: Naples, FL

I agree, Greg: knowing the scale-tones and their assigned 'numbers' clarifies so much. Seeing the relationship between chord-changes in terms of 'a step-and-a-half' or whatever it might be will bring logic to the process.

Even when reading notation (I'm a slow reader!), I find I'm identifying the next note by how much of an interval lies between it and the preceding note. A nanosecond later, and I'm seeing the actual note (Bb, or whatever), but numbers are my foundations.

I am actually making a conscious effort to improve my sight-reading. I acquired a couple of fake books (full of jazz standards and American song-book stuff) in order to do better on C6th, but a side-benefit has been the masses of material that I don't know - ideal for sharpening up reading skills.

It's a bit late, doing this at 81 - I doubt I'll be asked to use it now Smile

- but a challenge keeps me active.
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Roger Rettig: Emmons D10, B-bender Teles, Martins, and a Gibson Super 400!
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Fred Treece · From: California, USA

It’s a big question with a lot of big answers, as the previous responses imply. I’ll add one, because it is a way you can learn technique, theory, and musicality at the same time.

Let’s say you’re learning a nice 4-chord song G-Em-C-D.

First learn each chord in 3 positions (frets) and on at least 3 different grips (string groupings). On S10/E9 guitars there are 6 different 3-string grips for major chords in No-Pedals and Pedals Down fret positions. Don’t worry about tempo, just work on the accuracy of changing grips.

It really helps to have a device or app that can play notes and chords while you are practicing, so you can check your intonation and learn to play in tune. Also, a metronome or drum machine to help with timing.

See if you can name all 3 notes in a particular grip (such as a G triad) by note name (G-B-D) and chord tone number(1-3-5). As you go through the grips, the names and numbers invert (i.e. B-D-G / 3-5-1), so you can see the value of this exercise. It seems complicated at first, but keep in mind there are only 7 note names and 7 numbers in the basic major scale from which all chord tones are derived.

Next, take each of those 4 chords, and practice changing from one to another. As in G-Em / G-D / G-C / Em-C / Em-D / C-D. Go through all those positions and grips you learned from the previous step. Do the changes at no tempo first, build muscle memory and good tone and intonation, then start working with a metronome and gradually increase tempo as you gain accuracy. Try naming the chords as you make the changes.

After all that, practicing the chord progression of the song in proper sequence should be a piece of cake! Use the metronome to get it up to speed. Then play along with a YouTube or iTunes version of the song and try to stay in tune and in time. Try playing through the song in a single 2-3 fret position at a time. Play it in different octaves.

Sometimes when learning a song this way, the melody starts popping up in the chord voicing. You will already be ahead in the game if you want to play the melody, and harmonizing it might be right in front of you. Regardless, doing this will reveal a few different ways of playing the song, which increases the fun of playing.

You are doing yourself a favor learning some theory. No need to go overboard with it to become a good player. More advanced stuff will reveal itself either through playing or studying while you grow as a musician.

Vicente Saenz · From: Edinburg, Tx

I really appreciate the advices gentlemen thank you for the help!
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Vicente Saenz

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