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Topic: Boot Heel Drag on dobro |
Greg Booth
From:
Anchorage, AK, USA
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Rick Barnhart
From:
Arizona, USA
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Posted 21 Mar 2017 8:41 am |
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Very nice, as usual
_________________
Clinesmith consoles D-8/6 5 pedal, D-8 3 pedal & A25 Frypan, Pettingill Teardrop, & P8 Deluxe. |
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gary pierce
From:
Rossville TN
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Posted 21 Mar 2017 10:04 am
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| I like that a lot Greg. |
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Clyde Mattocks
From:
Kinston, North Carolina, USA
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Posted 21 Mar 2017 11:18 am
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Wow Greg, you really pulled that off. Super cool. Bob would be proud!
_________________
LeGrande II, Nash. 112, Harlow Dobro |
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Allen Hutchison
From:
Kilcoy, Qld, Australia
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Posted 21 Mar 2017 1:59 pm Wow
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Top stuff yet again Greg & band. Love the shirt! 
Cheers from Oz, Allen |
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Tim Heidner
From:
Groves, TX
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Posted 21 Mar 2017 2:36 pm
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That is great, nice job!
Last edited by Tim Heidner on 23 Mar 2017 5:48 am; edited 1 time in total |
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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 21 Mar 2017 2:50 pm
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| Outstanding, Greg! Great arrangement and video and a really authentic feel. Thank you. |
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Tim Tyner
From:
Ayden, North Carolina U.S.A
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Posted 22 Mar 2017 6:24 pm
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| Awesome Greg!Enjoyed that a lot!! |
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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 23 Mar 2017 2:47 am
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| Greg, I know you could call this tuning D6 without too much controversy, but should you really call it Bm and, in so doing, maintain the link to its Hawaiian origins? |
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Greg Booth
From:
Anchorage, AK, USA
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Posted 23 Mar 2017 7:32 am
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I don't know Guy, you probably know more about the Hawaiian origins if any. With the low D root, two more Ds and the 6th tone B near the top it looks and sounds like D6 to me. I suppose the same can be said for the C#m tuning though. I'm pretty new to the world of straight steel and even more so to Hawaiian playing.
_________________
Greg
Kathy Kallick Band
www.youtube.com/user/aksliderdobro |
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Mark Eaton
From:
Sonoma County in The Great State Of Northern California
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Posted 23 Mar 2017 9:19 am
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No disrespect intended to any Hawaiian origins - from a purely mathematical/music theory standpoint can we "legally" call it D6th/B minor?
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Mark |
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Clyde Mattocks
From:
Kinston, North Carolina, USA
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Posted 23 Mar 2017 10:46 am
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I would view the lowest note as acting as the function of a bass instrument in determining the name. If the lowest note is a D, I would look at it as a D6. If the lowest note is a B, then it would sound like a B minor. Of course either name is technically correct.
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LeGrande II, Nash. 112, Harlow Dobro |
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Joe Elk
From:
Ohio, USA
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Posted 23 Mar 2017 1:34 pm
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Very nice Greg!!
Joe Elk Central Ohio |
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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 23 Mar 2017 2:47 pm
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Greg and Clyde, of course you are right, as was Beloved Leader on the original thread that motivated you, Greg. I remember when I first encountered this tuning (as C#m) in Sol Ho’op’i’s ‘Fascinating Rhythm’. At the time I posted an opinion on this forum about how it really should be called E6. But that exposure was a significant life event for me and I have spent much time since researching this instrument and its music. My view as to the name has changed in the interim and, if you will indulge me, I would make a couple of points in support.
Firstly, whether it is C#m or Bm, the tuning is unique. It was invented in the 1930s and 40s and offers the player new harmonic possibilities while the perfect fourth interval between strings three and two creates an obstacle for single note melodies. Its part in the heritage of this instrument is significant. To retain the name Bm, though it be a misnomer, is to honour Mr Remington, with his Hawaiian training and predisposition for Hawaiian music, and the Hawaiian originators of the tuning on whose tradition he built.
My second point is merely a practical one. Greg, you are a very generous and influential steeler. The views of your videos, which are both beautiful artworks and accessible teaching/learning tools, have how many million views already? How many thousands of views do they gain daily? I know you are prone to modesty but your influence is world wide. What I am thinking is that this new, beautifully-crafted work is going to spur new interest in many minds. There is bound to be some experimenting going on. It would be good to provide them a link to the history of the instrument should curiosity arise. Additionally one should know that if you retune your guitar to Bm/D6 you can play any of the existing tabs in C#m by just transposing the chords down a tone. My tab of Sol’s “Fascinating Rhythm†chord solo, transposed for Bm tuning, is below, but you could pick up any historical tab and go for it just transposing the accompaniment chords.
Another example
http://bb.steelguitarforum.com/viewtopic.php?t=225678&sid=ac5fb2240f33c42b25ad14e3e66f49e4
Lastly, the culture of steel guitar suffers from the vast array of tunings on offer. I am sure that members here will be swift to correct me by pointing out how each tuning has its advantages. I don’t disagree but would repeat a point that I have read before on this forum. That is that this array of tuning options is very confusing to the beginner and works against the popularity of the instrument. By maintaining the name Bm, this new option is at least clarified and provided with a context. There is a bigger debate here but I hope this point is not lost.
Mark’s solution probably is the best of both worlds.
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Greg Booth
From:
Anchorage, AK, USA
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David M Brown
From:
California, USA
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Posted 23 Mar 2017 8:06 pm
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| Guy Cundell wrote: |
originators of the tuning on whose tradition he built.
Lastly, the culture of steel guitar suffers from the vast array of tunings on offer. I am sure that members here will be swift to correct me by pointing out how each tuning has its advantages. I don’t disagree but would repeat a point that I have read before on this forum. That is that this array of tuning options is very confusing to the beginner and works against the popularity of the instrument.
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Ah, the multiplicity of tunings.
There's a subject for a dissertation. (Any young musicologists out there looking for a topic?)
Yes each tuning has it's advantages.
But you have to learn to play in all those tunings!
If you learn tunings in terms of particular songs that work well in each various one, well, that's hard enough.
To learn all your chords, scales, take solos, and maybe even to sight-read on a single tuning is also hard enough.
To learn a number of tunings and be able to play tunes and solo in each one is even harder.
I'm still learning what you can do in a handful of tunings. |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 24 Mar 2017 3:02 am
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| David M Brown wrote: |
| Guy Cundell wrote: |
originators of the tuning on whose tradition he built.
Lastly, the culture of steel guitar suffers from the vast array of tunings on offer. I am sure that members here will be swift to correct me by pointing out how each tuning has its advantages. I don’t disagree but would repeat a point that I have read before on this forum. That is that this array of tuning options is very confusing to the beginner and works against the popularity of the instrument.
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Ah, the multiplicity of tunings.
There's a subject for a dissertation. (Any young musicologists out there looking for a topic?)
Yes each tuning has it's advantages.
But you have to learn to play in all those tunings!
If you learn tunings in terms of particular songs that work well in each various one, well, that's hard enough.
To learn all your chords, scales, take solos, and maybe even to sight-read on a single tuning is also hard enough.
To learn a number of tunings and be able to play tunes and solo in each one is even harder.
I'm still learning what you can do in a handful of tunings. |
I agree. That is why I now stick to one. 12 strings = lifetime to master.
But I do believe that you should be able to play any song you want in one tuning. Hence the "Universal" view being my decision. To each their own its part of the journey.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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