Why is this unique instrument under scrutiny again?
Waste of time and resources to discuss it.
Any kind of music can be played on any instrument by any musician.
Schluss! Finito! Fertig! Klaar!
Let the games begin!
Sierra S10, Stage One, Gibson BR4, Framus, Guya 6&8, Hofner lap, Custom mandolins, Keilwerth sax.
Roland Cube 80XL, Peavey112-Valve King and Special, Marshall 100VS.
Sierra S10, Stage One, Gibson BR4, Framus, Guya 6&8, Hofner lap, Custom mandolins, Keilwerth sax.
Roland Cube 80XL, Peavey112-Valve King and Special, Marshall 100VS.
Most of the key country singers in true country music appear to be somewhat jaded; that is to say, the good living and "high off the hog" lifestyles have reflected changes not for the better. We are experiencing great losses in shorter intervals of time. Hank Thompson had no hits in 1950 or 1951. He waxed "The Wild Side Of Life" in December of 1951, and it hit #1 in May 1952. The great melody to the song is all but forgotten at steel guitar jams. The players today are reaching for stars, much like Houdini did in his heyday. This brushing aside of a good thing that works is not good business.
We have no control over trendings. Boozing, driving, tinkering with electronics while driving is still fashionable. The same applies to the noise created by the so-called "new country". Their theme reads the louder the better. It's impossible to converse in the same room if you so choose. Someone should teach them about decibels and the effects thereof. There will always be those who will make the necessary changes to return to the music that has its roots in country music.
Well Bill you've pretty much run the gamut with this one. Starting with how many forumites play steel "properly" according to you, to singularly being the voice for ALL steel guitar players, to another old turd ranting about 60 year old pentachordal melodies and bitching cause it's too loud........is it nap time yet
It's silly to argue old music vs. new music. There has always been good and bad music in the marketplace. The best of the old songs survive, as do the best styles of playing. The recent release of Old Yellow Moon by Emmylou Harris and Rodney Crowell demonstrates the enduring qualities of their music, as played by some of today's best players (including Paul Franklin).
I maintain that those who gripe about "today's music" just like to complain. There is a constant stream of great new recordings being released. Accessing whatever style suits your fancy has never been easier. And most importantly (to us), the steel guitar has found a place in almost every niche. One need only look at the variety of modern projects by Greg Leisz or BJ Cole to validate that premise.
I apologize for the rant, but there's only so much of this "old music is better" crap that I can take.
If there's a picture of someone sitting at a steel and playing at least one note, that person is a steel player, like it or not. Where is the survey data that says only 5% of the members play steel?? Why am I even replying to this post? Help, get me out of here!!
--carl
"The better it gets, the fewer of us know it." Ray Brown
My rough estimate, based on correspondence with members, is 75% pedal players, 15% non-pedal only, and 10% non-players. Few people are willing to plop down $5 to join if they don't actually play the instrument.
Are the banjo players in the non player category?
--carl
"The better it gets, the fewer of us know it." Ray Brown
Jan Viljoen wrote:Stuart, all the same
Please send me some jazz chords, E9.
I posted some Jazz chords just now in the tab section here. A bebop jazz substitution over a 12 bar blues rogression. You might find this interesting. click here
Keep up the good work.
(And the humor, it makes life better also)
Matter of fact all jokes, jostling and needling of different musicians mixed with knowledge and insights make this a great forum.
Let the jazz games begin!
Sierra S10, Stage One, Gibson BR4, Framus, Guya 6&8, Hofner lap, Custom mandolins, Keilwerth sax.
Roland Cube 80XL, Peavey112-Valve King and Special, Marshall 100VS.
Thankz Carl, I have BIAB and also books from Jamey Abersold.
I used them in sax playing, but the pedal steel takes most of my time.
Sierra S10, Stage One, Gibson BR4, Framus, Guya 6&8, Hofner lap, Custom mandolins, Keilwerth sax.
Roland Cube 80XL, Peavey112-Valve King and Special, Marshall 100VS.
The familiar reminder in days gone by was asserted with emphasis by many who took the time to explain in detail that learning to master the pedal steel guitar requires "paying your dues". According to a large percentage of this membership, they would infer that "paying the dues" is no longer necessary. I have a problem with those who believe such nonsense. There are 13,000 reasons for not buying into this miracle of learning to play before the dues have been paid.
If a student has no motivation to learn, he's not paying his dues, whether a member of the Forum or not - I studied jazz guitar for MANY hours with Berklee professors and others, privately, and in ensembles. I don't see where joining the Forum implies that a member receives some kind of ticket to magically becoming an accomplished musician. I found the Forum in my search for learning the instrument. I have learned a lot about many aspects of the instrument. When generous members give out charts and tabs, it's great, but there's no magic in nailing the charts and tabs. What exactly do you want from this post?? Gotta get back to my lunch and then practice - bye!
--carl
"The better it gets, the fewer of us know it." Ray Brown
Thanks for the civility! Harmonic blendings performed to perfection are very elusive. Even if you managed to arrive at the ultimate tonalities.. those that would curl the hair of a true sentimentalist, in every probability, a drummer would attempt to overpower the total sound. The reason why someone in the industry hasn't taken them to task is far beyond me. Tune in to any so-called new country station. What do you hear up front?? Yes, that is correct, a drummer and buddy, the bass player, drowning out the pedal steel guitar. Why bother counting steel guitarists who are never heard.