A true beginner’s question:

Les Anderson · From: The Great White North

I bought and started playing my steel about six or seven weeks ago and have been doing a little jamming with a few locals who are into Blue Grass; of which is not my choice first choice of music. My chord work is still very limited and tends to be very mechanical and abrupt in chord changes and bar slides. This past Saturday evening while jamming, I got lost in the maze of chords the banjo picker was playing so, because I knew the song, I went into picking out the melody rather than following with chords. The banjo player didn’t say anything but I could tell by the glances I was getting that I was moving into his territory and it wasn’t appreciated. I am very aware and sensitive to my volume so I wasn't overpowering him.

Is it wrong in certain genres of music to blend into but stay in the background the melody with a steel instead of sticking to chording only?

Blending in with the melody is quite common when playing chromatic harmonicas as a back up; however, I need to learn what the steel player’s limits and designations are.

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I am not right all of the time but I sure like to think I am!

Randy Reeves · From: LaCrosse, Wisconsin, USA

playing any instrument one has to be mindful of intruding. you have that sensibility as do I.
are there general rules?? there is general courtesy to be sure.like dont step on the singer, but fills are good when the singer is done with a phrase.
Im new at pedal steel and havent been in a situation you describe. playing lap steel in a band I took leads when nodded to, did fills, and did background rythms. never had to duet with another guitar, but if I did, just trade licks. either rephrasing what was played or something new.

[This message was edited by Randy Reeves on 08 November 2004 at 10:31 AM.]

David Doggett · Posted 8 Nov 2004 11:25 am

Generally singers and instrumental solists don't want steel playing the melody along with them. The steel is a harmony and fill instrument, except during your solo, when you get to play the melody all by yourself.

Incidently, if you can't follow the chords in harmonizing, playing single string harmony is quite acceptable, and sometimes very effective. Just stay off of the melody itself.

[This message was edited by David Doggett on 08 November 2004 at 11:28 AM.]

Ray Montee · From: Portland, Oregon (deceased)

For a couple of weeks now I've been playing for "FREE" with a group in order to "Give Back" some of what I've realized over the years thro' my playing the steel guitar.
We have a "violin" player who has been credited with being a symphony violinist. From start to finish, he rambles in an unsteady tone, all over the melody or lead line, clashing with virtually every move I make.....throughout the entire song.
Is this because I'm tuned 440 straight up or by some other means; or, that my string gages are wrong; or, simply that he does not have any idea of what "etiquette" in playing is all about while playing with a musical group?
These are part of "the basics" one USED to have to learn BEFORE ever climbing the steps to the stage where professional players were proudly ensconced. Some of the olde standards were not at all bad to recognize and honor and often paid big dividends when it comes to producing listenable music.

[This message was edited by Ray Montee on 08 November 2004 at 03:29 PM.]

Pete Burak · From: Portland, OR USA

Ray,
You need to have a friendly "basic ettiquite" discussion with this fiddle player.
I like to use the "It's like having a Conversation..." analogy... ie. "If we're all talking at the same time, we're not having a conversation."
Maybe you can find a video of a fiddle player placing the fiddle under his arm for a full verse (my favorite fiddle lick!)
You should also have a tuning conversation with the entire band, agree on a standard reference to tune to, and play through a bunch of chords just to practice band intonation.
Then most importantly, record every playing session, listen back for out of tune issues, and highlite them as "improvement required" issues to the party who is "out".

Let us know when and where you are playing!

ps
I hate to hear what Eric is gonna say when he hears you're playing for FREE!

[This message was edited by Pete Burak on 08 November 2004 at 03:52 PM.]

Eric West · From: Portland, Oregon, USA, R.I.P.

I'm going to have to introduce my dentist and attorney to this new definition of "a professional". Maybe it'll catch on.

EJL

Ray Montee · From: Portland, Oregon (deceased)

I'm merely following in the shadow of one of the Northwests' finest steel guitarists LB and only hope I can return to others equal to all that I have received. Money is not everything in life.

Eric West · From: Portland, Oregon, USA, R.I.P.

Hey Ray.

Pete charges 'em an arm and a leg!

I usually let them off with their soul..

EJL

(What am I doing over here in NoPeddlers?)

Jennings Ward · From: Edgewater, Florida, R.I.P.

HHHHHmmmmmmmmm???? Steel and Banger?? A very strange combination...CLASH, CLASH, CLASH. I have never seen a Banger player that was generous and courteous...Bangers and steel,, oil and water, dpgs and cats. paint and dirt..Dents and fenders {auto], motherinlaws? Never a good mix....

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EMMONS D10 10-10 profex 2 deltafex ne1000 pv1000, pv 31 bd eq, +

Les Anderson · From: The Great White North

Jennings; this was a group of Blue Grass junkies and the mandolin and dobro players invited me to join in on their Saturday night basement jam. Things went along just great until the banjo plucker started in on his version of "Bluegrass Express". I had no idea that anyone could get so many chords out of a five string banjo. Believe me, even the dobro player was scrambling to keep up.

I am a beginner on the steel and had no idea what the protocol is/was when one gets left behind or cannot follow the soloist; so, I just very loosely started picking out the melody at about every third or four note followed with very simple bar slides. I guess I screwed up!

It's a good thing it was only a basement jam and not a stage gig. I'll learn.

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I am not right all of the time but I sure like to think I am!

[This message was edited by Les Anderson on 09 November 2004 at 09:11 PM.]

Larry Phleger · From: DuBois, PA

In one of the late Jeff Newman’s seminars, I heard him say that it is as important to know when not to play as it is to know what to play. Especially in pickup bands, egos over ride the desire to produce quality music. There is a time to lead, and a time to fill, and a time to play nothing. Developing a sense of this is essential in making a group solid and a pleasure to listen to.

Ron Whitfield · From: Kaaawa, Hawaii, USA

Larry nailed it. There is no law that say's you gotta play, especially if you're unfamiliar with the tune. In fact, you get more respect and encouragement from most if you show sensible restraint. Just lay back and get a sense of the melody, maybe add subtle flourishes like chimes til you get the gist of the #.

For an awesome example of getting more out of less, check out David 'Feets' Rogers steel work from The Sons of Hawaii.

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