Reverse slant exercise for Dobro or High A

Lap steels, resonators, multi-neck consoles and acoustic steel guitars

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Guy Cundell
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Reverse slant exercise for Dobro or High A

Post by Guy Cundell »

Here is a reverse slant exercise that someone might find useful.


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Mark Eaton
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Post by Mark Eaton »

Thank you Guy, nicely done!
Mark
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Stan Paxton
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Post by Stan Paxton »

I can sure use this :!: If I can just figure out how to copy this page. :?
Thanks Guy ...
Mullen Lacquer SD 10, 3 & 5; Mullen Mica S 10 1/2 pad, 3 & 5; BJS Bars; LTD400, Nashville 112, DD-3, RV-3, Hilton VP . -- Gold Tone PBS sq neck; Wechter Scheerhorn sq neck. -- "Experience is the thing you have left when everything else is gone." -anon.-
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Doug Beaumier
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Post by Doug Beaumier »

Stan, if you're using a PC just right click on the image and then click on "Print Picture" or "Save Picture".
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Stan Paxton
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Post by Stan Paxton »

:eek: Hey Doug, It worked. ...After I got my grandson to hook up and configure my printer connection. ...Thanks
Mullen Lacquer SD 10, 3 & 5; Mullen Mica S 10 1/2 pad, 3 & 5; BJS Bars; LTD400, Nashville 112, DD-3, RV-3, Hilton VP . -- Gold Tone PBS sq neck; Wechter Scheerhorn sq neck. -- "Experience is the thing you have left when everything else is gone." -anon.-
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Doug Beaumier
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Post by Doug Beaumier »

That's great, Stan!
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Stan Paxton
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Post by Stan Paxton »

Doug, I was just listening to your Cold,Cold Heart, and that was Great, too. Always loved that tune, and how everybody has a little different way of interpreting it on the Steel. ...
Mullen Lacquer SD 10, 3 & 5; Mullen Mica S 10 1/2 pad, 3 & 5; BJS Bars; LTD400, Nashville 112, DD-3, RV-3, Hilton VP . -- Gold Tone PBS sq neck; Wechter Scheerhorn sq neck. -- "Experience is the thing you have left when everything else is gone." -anon.-
Jeff Spencer
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Post by Jeff Spencer »

Well done Guy. I'll be using this.
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Adam Nero
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Post by Adam Nero »

I find reverse slants to be so difficult with a dobro-style bar. They've become manageable on steel with my bullet bar, given the indentation on the back end. Does anyone else have this issue?
2 cheap dobros, several weird old lap steels, and one lifelong ticket to ride on the pedal steel struggle bus.
Michael Kienhofer
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Post by Michael Kienhofer »

Adam Nero wrote:I find reverse slants to be so difficult with a dobro-style bar. They've become manageable on steel with my bullet bar, given the indentation on the back end. Does anyone else have this issue?
Difficult at first but with practice and the right bar can be done .
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Adam Nero
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Post by Adam Nero »

Michael Kienhofer wrote:
Adam Nero wrote:I find reverse slants to be so difficult with a dobro-style bar. They've become manageable on steel with my bullet bar, given the indentation on the back end. Does anyone else have this issue?
Difficult at first but with practice and the right bar can be done .
What bar works for you?
2 cheap dobros, several weird old lap steels, and one lifelong ticket to ride on the pedal steel struggle bus.
Michael Kienhofer
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Post by Michael Kienhofer »

Adam I now use a EG Smith,but a Dunlop lap dog on occasion.

Like most "Dobroists" we have a big pile of these in our collection.
I takes trail and error to find the right bar that fits your hand.

Here,s a little tip,,As you start the reverse slant tip your wrist up as you rotate the bar,this helps to grab the bar with the thumb,.
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Stan Paxton
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Post by Stan Paxton »

Being new to Dobro, I probably should have no opinion here.
However, found that the regular Stephens type bar just does not want to co-operate with my untrained hand in making reverse slants. ...Have ordered a new Shubb with more form-fit-to-the-palm configuration. Hopefully that will help. :)
Mullen Lacquer SD 10, 3 & 5; Mullen Mica S 10 1/2 pad, 3 & 5; BJS Bars; LTD400, Nashville 112, DD-3, RV-3, Hilton VP . -- Gold Tone PBS sq neck; Wechter Scheerhorn sq neck. -- "Experience is the thing you have left when everything else is gone." -anon.-
Michael Kienhofer
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Post by Michael Kienhofer »

Stan you could use the "elbow in the rib method" for reverse slants on the ole Stevens type bars.
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Adam Nero
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Post by Adam Nero »

Stan Paxton wrote:Being new to Dobro, I probably should have no opinion here.
However, found that the regular Stephens type bar just does not want to co-operate with my untrained hand in making reverse slants. ...Have ordered a new Shubb with more form-fit-to-the-palm configuration. Hopefully that will help. :)
Ah good I knew I couldnt be the only one! Hope that works out for you stan
2 cheap dobros, several weird old lap steels, and one lifelong ticket to ride on the pedal steel struggle bus.
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Adam Nero
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Post by Adam Nero »

Michael Kienhofer wrote:Adam I now use a EG Smith,but a Dunlop lap dog on occasion.

Like most "Dobroists" we have a big pile of these in our collection.
I takes trail and error to find the right bar that fits your hand.

Here,s a little tip,,As you start the reverse slant tip your wrist up as you rotate the bar,this helps to grab the bar with the thumb,.
Thanks for the input I think I know what you mean, will give it a shot
2 cheap dobros, several weird old lap steels, and one lifelong ticket to ride on the pedal steel struggle bus.
Paul DiMaggio
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Post by Paul DiMaggio »

Good exercise Guy. The only Stevens type bar that worked for me for reverse slants is Shubbs GS1. The rest of them seem to want to fall over.
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Guy Cundell
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Post by Guy Cundell »

I am pleased that this post has been of interest. Not wanting to start a "bar wars" discussion, I would like to say, however, that personally I have abandoned Stevens bars in favour of bullet bars for acoustic. I only use Stevens bars for getting beginners going because, initially, it's a much easier to get going with that grip. I abandoned the Stevens bars after seeing the videos of Jerry Byrd playing with Marty Robbins on Youtube. I mean no disrespect to the Stevens adherents. (I am eagerly awaiting the arrival of my copy of Three Bells.)

In the style that I am trying to develop, open strings, so dominant in Bluegrass, are mostly avoided for two reasons. One is that barred strings are under control of the left hand in all aspects. This gives the player the ability to control articulation of each note of each phrase. Also, I don't feel compelled to generate the blinding speed that can be gained on the Stevens with pull offs, or should I say "pop offs" which is what I would call the explosive notes achieved when you use the end of the Stevens. I am currently playing with some gypsy jazz guys with (mercifully) no banjos so I don't have to struggle for volume. Secondly, I am trying to develop speed through strengthening my right hand, in the manner of the second generation of Hawaiians, Sol, Bennie, Sam etc. and so the pull offs, while occasionally used, are mostly redundant.

There are certainly advantages of the Stevens that I am missing, but not so much.