Instructors

Rick Collins · From: Claremont , CA USA

Taking all kinds of courses in high school and college, I know some instructors are better than others. I taught myself to play the steel guitar. Without an instructor, I feel I've missed out on some, maybe helpful, information __ although the SGF, printed and recorded material, as well as watching and listening to other players, has been helpful.

Style is something I'm pleased to have developed on my own, But, style is one thing and knowing a variety of tunes is another. With no formal music education myself, it would seem knowing theory well and constantly reviewing it would make a big difference in one's versitility.

But, being a teacher myself (not of music), I've noticed something about other instructors: They may know the subject well, but may not necessarily be a good instructor of that same subject.

The greatest fault I've found in poor instructors is assuming the student knows a certain detail, but does not. Overlooking this fact can make an, otherwise great, teacher ineffective.

I once overheard a conversation between a good steel player and an unknown player. When asked if the good player could read music, his reply was, "yes, but I don't let it interfere with my playing".

I was just wondering if anyone has ever had a really bad teacher?

Rick

Jeff Au Hoy · From: Honolulu, Hawai'i

Honestly, I don't think steel guitar playing (non pedal) has ever been at a level that you would miss out by not having an instructor. I'd say you missed out if you never listened to any records. And maybe to a lesser degree if you never spent time hanging out with other steel players.

By the way, that line about not letting music get in the way of my playing... I said that first back in 1927.

Patrick Newbery · From: San Francisco, California, USA

Jeff-
And here I was thinking the goals was to not let my playing get in the way of the music!

But I agree that you don't necessarily need an instructor, theis forum has certainly been a godsend, tho.

But, in my mind, nothing works as well as talking/listening to/and working with other musicians, especially good ones who can "coach" rather than instruct.

Bruce Clarke · From: Spain

Rick, I can only speak about the U.K. but my experience bears out what you say about some instructors. Plenty of bad ones there, particularly in the state system, where they are protected by strong unions. Much of the damage that they do is down to daft policies that they are required to implement.
I was in the profession for a while but like yourself not teaching music, although I am qualifed (academically plus 50 years as a pro pianist)The private music teaching business, in which I did operate for a while,is another world, anyone can call himself/herself a music teacher, so we get good ones and some not so good. As you say, knowing a subject does not necessarily imply the ability to teach it.
Of course I agree with Jeff about hanging out and listening to records,(been there, still doing that) but I think that a teacher who can play his instrument and can impart that knowledge can be invaluable. After the lesson though we still have to go home and teach ourselves to do it. IMHO

Joel Newman · From: Smithsburg, Maryland, USA

Hmmmm well here's my, (war and peace), 2 cents. I'm a music teacher, (reg. guit./ bass and voice), as well as player and recently again a student. I've studied music with some name brand teachers,(some good, some ok, some bad). And yes, while not studying I have learned from my colleagues. . . but, not nearly as much as when studying from with a teacher,(I guess I'm a little biased, lol).Maybe there's something to slapping that hard earned $$ down, it makes you a little more serious about your studying endeavor. And I think that life experience plays a great part in the choice of whether to study or not,(I guess we're all always studying in some form).

Here's a big for instance in terms of me learning how to play steel . . .I just recently started taking lessons from Buddy Charleton as I felt I was totally lost in the technique dept.(plus many other depts..) And boy am I glad I did, as in one, all too short lesson, he really corrected a lot of bad habits I had developed in the 1/2 a year I've been playing. Basically we worked on how to hold my right hand, bar/picks and where to train my eyes. Now I can see the genius of his playing attitude. I'm even getting used to using picks!!! Without his guidance I don't think I would have ever figured out this stuff on my own.(plus there’s not too many steel players in my area or at least that I’m aware of). It is a little painful to have to learn how to crawl all over again, but I figure better now than way later on . . . I can only trust my gut in most things in life, but I can tell Buddy Charleton's a truly excellent teacher.

On the flip side I had a guitar teacher in my ‘young and dumb’ youth who used to excuse himself mid lesson (he'd use the bathroom break excuse), go down to the bar underneath the studio and knock back a few. . . . Somehow I still learned from him for a couple of years, albeit I’m a little scarred for life . . . He could have been a better teacher but I think, (alcoholism aside), he fell into that trap of teaching by rote and not taking an interest in his students individually.

As a teacher I see it as more work, but the mark of a good teacher is you have to give a crap about what it is you’re teaching, and who you’re teaching it to. I guess it goes without saying but the most productive lessons are ones where the student is truly involved in his or her learning process and the teacher is totally willing to open up a vein for that lil blood sucker . . . .

So I guess I throw my hat into the ‘study with a teacher’ camp. I just think it gives you a leg up faster is all . . . I’ll shut up now . . .

Ray Montee · From: Portland, Oregon (deceased)

Well Jeff..........1927? Hummmmmmm?

For us olde timers....we had to RELY on "our ears"; "Imagination"; and "burning desire" to keep us going. LISTENING to records is how most of us learned "tunings", "keys" for popular instrumentals; and the "string combinations" to be picked and the "bar positions" and "movements" to be played.

There were no tabs to read and play. There was little or no communication between "anyone" that wasn't local.......and in those days, many of their musical "thingies" were kept as deep, dark secrets for the rest of us to wonder about the rest of our lives.

I think that developing the ability to TRULY and ACCURATELY LISTEN to what was being played on the steel guitar is what made the difference for most of us. No crutches were available for most of us. Finding a steel player that lived nearby was even harder than finding a rythm guitar player that actually knew how to play.........

Personally, I wouldn't change a thing. I have a variety of tabs by various artists and yet LISTENING to the SOUNDS I WANT to play is where it's all coming from. At one time, I was playing nearly all of Speedy Wests' instrumentals, Noel Boggs, Juaquine Murphy, Billy Bowman, Howard White, Roy Wiggins, Don Helms. etc., etc. More than one hundred steel guitar instrumentals were in my song book........using any number of different tunings.

LISTENING is an art form. Listening to country rap........would not, IMHO, be a best route to travel. Some of Buddy's early instrumentals and others like him, should be your preferred method for listening. In this way you will not only learn the correct strings to play but the ones not to pick as well. What you hear on the record should be your target to aim for. You need copy an artists' "style" for your own future musical destiny but as a learning guide for a given tuning, etc. Stop, Look at what you're doing and listen both to the record and what you're doing in order to measure the accuracy of your intereptations. Until you can do this with some degree of accuracy, I believe you're chasing smoke.

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