
Reverse slant exercise for Dobro or High A
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Guy Cundell
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Reverse slant exercise for Dobro or High A
Here is a reverse slant exercise that someone might find useful.


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Mark Eaton
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Stan Paxton
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I can sure use this
If I can just figure out how to copy this page.
Thanks Guy ...
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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Stan Paxton
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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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Stan Paxton
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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.-
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Jeff Spencer
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Adam Nero
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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.
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Michael Kienhofer
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Adam Nero
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What bar works for you?Michael Kienhofer wrote:Difficult at first but with practice and the right bar can be done .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?
2 cheap dobros, several weird old lap steels, and one lifelong ticket to ride on the pedal steel struggle bus.
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Michael Kienhofer
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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,.
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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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.
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.-
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Michael Kienhofer
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Adam Nero
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Ah good I knew I couldnt be the only one! Hope that works out for you stanStan 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.
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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Thanks for the input I think I know what you mean, will give it a shotMichael 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,.
2 cheap dobros, several weird old lap steels, and one lifelong ticket to ride on the pedal steel struggle bus.
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Paul DiMaggio
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Guy Cundell
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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.
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.