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Topic: String Pulls - looking for some good exercises |
Paul Seager
From:
Augsburg, Germany
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Posted 6 Sep 2014 10:27 pm |
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A while back, I posted a question about playing country on a non PSG: http://bb.steelguitarforum.com/viewtopic.php?t=262854 and your responses have all been very helpful. Some call-outs:
Mike Neer recommended "1) dead-on intonation, 2) very quick movement to simulate the pedal sound ..." and one way of achieving this is to work out with Doug Beaumier's fast picking exercises (visit his page) - there are some great licks in there too!
Les Anderson recommended mastering Pulls and, because of a tip from Jean-Sebastien Gauthier, I've been watching a lot of Chris Scruggs on YouTube.
I am impressed on the tones/effects achieved from Chris' string pull technique. So I started to practice this and, boy it hurts!  Still, as the German's say, it's practice that makes the master. Some questions:
1) I'd appreciate some musical exercises that are achieved by pulling - I mean exercises that I can actually use in a song rather than just exercises to improve the technique.
- pulling the 6 to a dom 7 is an obvious choice!
- I've considered tuning in a 9 to move that to a 3rd but it seems a silly idea!
2) Does one typically just pull the string towards one's self or is pushing away recommended as well; maybe this is dependent on the string used?
3) Unsurprisingly, this seems easier on a 6 string than an 8 string, because of string spacing. On an 8 I can't get past a half-tone without affecting the next string. Is this normal or is it a practice issue?
4) I know this will take time to master but I'm curious on how many strings can be pulled at the same time.. and I guess that brings us back to 1)
I'm on C6 with a hi G most of the time; E13 hi G# and lo A if I have to.
\ paul
_________________
\paul
Bayern Hawaiians: https://www.youtube.com/@diebayernhawaiians3062
Other stuff: https://www.youtube.com/@paulseager3796/videos |
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Don McGregor
From:
Memphis, Tennessee
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Posted 7 Sep 2014 6:01 am
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Paul,
I, too, am fascinated with string pulls. I also use C6 with a high G. I am also currently building my second 8 string instrument. I will share what I have I have learned so far. I prefer 3/8" string spacing, both at bridge and nut, and a 22-1/2" length scale. This set up allows great ease in playing three string slants, and string pulls.
If you haven't seen himm, I suggest you also look at Billy Robinson's "I Love You So Much It Hurts" on youtube.
He plays an extended C6 tuning, is a master of slants and pulls.
I always pull the string, as you have to keep a bit of upward pressure on it to keep it up against the bar as you pull. I have no doubt someone out there has mastered the technique of pushing the string forward, but it seems that you would have to push a bit up under it to keep upward pressure on it, and, to get under it at all, your finger would press down the string before it.
I have experimented with pulling two strings behind the bar, and it can be done. In this, I have so far managed a couple in practice, pulling one string with my ring finger, and one with my pinky, but have not so far developed them enough to be useful in a performance.
Here are some of my basic pulls. All of these are with the bar straight across a fret, and no slanting;
I sometimes pull the high g string (5th scale tone) up one whole step to bend to the 6th tone.
I also sometimes bend it only one half step, to make an augmented chord chord of the top three strings.
On the E, or second string, I often pull one half step up to get the 4th scale tone, sometimes making a suspended 4 chord, and sometimes while playing the note in a run. Also, by plucking the 2, 3, and 4 strings during this pull, you get a major chord with the root on top.
The 3rd string, I pull one step higher to make a partial 9th chord of the highest three strings.
I also pull the 3rd string one half step to for a diminished6 chord while playing any combination of the higher strings. As with all diminished chords, this formation can be moved up or down the fretboard in increments of 3 frets, and the same notes will sound, just in a different order.
If you pluck strings 2, 3, and 4 while pulling the 3rd string up a half step, this changes that minor chord to a major chord. If you strum the top 4 strings while using this pull, you get a full minor7 chord.
I, too, pull the 4th string one half step to change a straight bar chord from a 6 to a 7th chord.
A lot of slants are also effective when used while playing a slanted position.
For instance, if I play the number one and two strings on one fret, and the 4th string on the next higher fret, I get a partial 7th chord without the root. By pulling the 3rd string just slightly up to pitch, I can make this into a 9th chord.
While, for explanation's sake, I have been describing these pulls as used in chords, I often find them just as useful when playing harmonies and runs.
There are many more useful pulls in this tuning alone, and I will always be exploring, and looking of more. However, I have run out of coffee, and cannot take this any farther today. I've enjoyed trying to describe with words what my hands and ears are learning. If I have mis-described any of this, I hope someone will correct me. Hope this helps. [/url] |
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Ulrich Sinn
From:
California, USA
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Posted 7 Sep 2014 7:41 am
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For a very scary exercise check out:
"The Last Rose of Autumn" by Stacy Phillips on "The Great Dobro Sessions".
There is a book with transcriptions available. Quite possible the last dobro book you'll ever need.
_________________
Redline Resophonic
MSA Superslide 12-string Reece Anderson tuning, dropped down to B
MSA “The Universal†in Reece Andersons Bb universal tuning, raised to B
TomKat Amp
how I earn a living |
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Mike Neer
From:
NJ
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Posted 7 Sep 2014 7:42 am
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Certain tunings are more conducive to string pulling than others. C6 is not really one of them, unless you are going for simple 1/2 step pulls, which can be cool because you'll get different chord qualities. For instance, (using open strings as an example) pull string 2 (E) 1/2 step and you'll have an F triad on strings 2, 3 and 4. Pull string 3 (C) up a 1/2 step and you'll have an A triad on 2, 3 and 4. Pull string 4 up a 1/2 step and you'll have C7.
E tunings are better because of the ability to pull the B string (which is the 5th of the chord) up to C#, with the added bonus of being able to grab the G# and raise it a 1/2 step, too. Actually, if you are able to experiment with different string gauges, I have had luck pulling 3 strings simultaneously: 1, 2 and 3, to get a II minor chord.
Important to note that string pulling is extremely inconsistent up and down the neck because of varying tension. There is a sweet spot where you are more likely to have success, but even then it is not consistent.
I would focus more on slants and master that first, because even after a lot of years of playing, I am still discovering some crazy slants that are really, really cool and useful.
_________________
http://www.steelinstruction.com/
http://mikeneer.com |
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Don Crowl
From:
Medford, Oregon, USA
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Posted 7 Sep 2014 8:22 am
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I love the experience you gentlemen share. This novice hobby player learned more than expected.
What is your input in regard pulls & string gauges? Seems the lighter the gauge the easier the pull. Then I suspect there would a tonal impact. Maybe I'm over complicating things. Probably doesn't make much difference as in the variables of pulling different strings?
I sure need to develop some exercises. Any more suggestions just for exercises?
Don |
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Stephen Cowell
From:
Round Rock, Texas, USA
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Posted 7 Sep 2014 8:31 am
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Using lighter gauge strings makes them easier to pull... and makes the tone suffer some, it's a trade-off.
If you can work your fingernail into the pull you can pull harder without pain... you can also slide while holding the pull. Definitely don't let the string get under the nail!
Pulls are good for sus chords as well as making a 6 into a dom7.
The closer you are to the bridge when you pull the more it will affect your picking... the string being out of place messes you up! There is a sweet spot around the 7th-10th fret that's best for pulling... close to the nut is really hard (and painful!). Pulling near the 12th fret is difficult because your string muting suffers during a pull and muting is most important at the middle fret.
My favorite 'pedal steel' sounding pull is on E13 when you're playing in the IV form (five frets up)... pull the 2nd string up a whole step to the 3 while sounding the 5th and 3rd string... talking Leon E13 here.
_________________
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Brian McGaughey
From:
Orcas Island, WA USA
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Posted 7 Sep 2014 2:15 pm
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Paul,
I wouldn't dismiss pulling a major 2nd to a major 3rd. If you're looking to emulate standard old school psg licks that pull from a sus2 to a major triad has got to be in the top ten list of standard psg licks. Foot on the B pedal while rocking onto the A pedal.
I don't really play lap but I use that behind the bar string pull on several songs I do on dobro.
Be careful with practice on those pulls. I put myself out of commission for about a week due to finger pain. I now brace my thumb against the neck and pull against that thumb position. |
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Greg Booth
From:
Anchorage, AK, USA
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Posted 7 Sep 2014 4:06 pm
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Brian, I like to pull the 5th string (.046) on dobro for a sus4 in the lower octave and it was starting to hurt my ring finger. I now use my middle finger to pull the wound strings, bracing with the thumb and it works great. No pain and power to spare.
_________________
Greg
Kathy Kallick Band
www.youtube.com/user/aksliderdobro |
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Andy Volk
From:
Boston, MA
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Paul Seager
From:
Augsburg, Germany
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Brian McGaughey
From:
Orcas Island, WA USA
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Stefan Robertson
From:
Hertfordshire, UK
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