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Author Topic:  Good C6 solos to transcribe?
Paul McEvoy


From:
Vermont, USA
Post Posted 13 Feb 2018 2:32 pm     Reply with quote

Just wondering if anyone has some favorite C6 6 string solos that they'd recommend for a new player to transcribe. I'd be interested in not insanely difficult stuff in a variety of genres. Usually transcription has been the fastest way for me to learn stuff.

Anyway, if anyone has ideas for me I'm all ears.

Thanks
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Jim Cohen


From:
Philadelphia, PA
Post Posted 13 Feb 2018 2:38 pm     Reply with quote

(Deleted. Didn't notice this was for non-pedal)
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Last edited by Jim Cohen on 13 Feb 2018 4:49 pm; edited 1 time in total
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James Kerr


From:
Scotland, UK
Post Posted 13 Feb 2018 3:54 pm     Reply with quote

Hello Paul,
Are you interested only in Intros, Fills &
Turnarounds, or do you want to play a complete song.

James
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Levi Gemmell


From:
New Zealand
Post Posted 13 Feb 2018 4:05 pm     Reply with quote

I've been simultaneously having fun and getting a great learning experience out of transcribing from the recent compilation of Jerry Byrd's singles on Mercury Records, Byrd's Expedition:

http://www.richard-weize-archives.com/jerry-byrd-byrds-expedition/

A couple of weeks ago I transcribed South, and had a good time with it. I think across the whole compilation you can scale the difficulty of the material you want to tackle quite well.
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Andy Volk


From:
Boston, MA
Post Posted 13 Feb 2018 5:00 pm     Reply with quote

Levi, that one is on my list to do too! Smile
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Levi Gemmell


From:
New Zealand
Post Posted 13 Feb 2018 5:32 pm     Reply with quote

Andy, I am by no means too good at this transcribing business, and have shared nothing of the sort with the forum before - but maybe it will be beneficial to others to share my progress with a couple of songs from that album, in the next few weeks.

Who knows, we may see completely different fretboard arrangements for the same material.

OP, I didn't mention before, but I find the spread of genres or styles on the album to be a great place for relative beginners. You have Country and Western, Dixieland, both Hula and March styles of Hawaiian, and more 'popular' stuff too. It should all be in C6th or C6/A7th.
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Mike Neer


From:
NJ
Post Posted 13 Feb 2018 7:51 pm     Reply with quote

I've transcribed many solos. The key is to pick out solos that contain stuff that you want to learn from and that present a challenge, because that is how you start to visualize the fretboard the way they did.

When you are transcribing C6, you'll see several possibilities of playing the same thing, which is one of the coolest aspects of doing it, because you'll realize that the most convenient way to play something is not necessarily the right way. A lot of times you'll need to rethink it in order to nail the phrasing.

I don't transcribe steel stuff anymore, but I have a ton of fun arranging for C6 now, and I can credit the time I spent transcribing with making it possible to do it.
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Andy Volk


From:
Boston, MA
Post Posted 14 Feb 2018 5:15 am     Reply with quote

Corrected JM Murphey lick over the changes to Night and Day:


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Last edited by Andy Volk on 17 Feb 2018 11:26 am; edited 1 time in total
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Mike Neer


From:
NJ
Post Posted 14 Feb 2018 7:11 am     Reply with quote

The benefit of transcriptions is to learn moves that are not ordinary. Some of them are key-specific, too. For instance, I would highly recommend starting with Steelin’ The Blues, which is in Db. What I learned from that alone has been used a ton by me. Jerry Byrd version recommended.

The whole idea of using licks from other instruments is about building vocabulary, but building style involves a more focused look at the techniques and how you can individualize something in the way you play it.

Sol Hoopii remains a singular influence for me in that he defined creativity in approach to the instrument. His use of open strings is a masterclass, but it can be so subtle that you might miss it.
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Paul McEvoy


From:
Vermont, USA
Post Posted 14 Feb 2018 4:34 pm     Reply with quote

James Kerr wrote:
Hello Paul,
Are you interested only in Intros, Fills &
Turnarounds, or do you want to play a complete song.

James


Thanks for the responses! I guess I’m mostly looking for things that would have good but stereotypical licks in them so I can get a feel of how the instrument works and what the basic moves are?

Not sure if that makes sense.
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J Fletcher


From:
London,Ont,Canada
Post Posted 15 Feb 2018 5:24 am     Reply with quote

Don Helms with Hank Williams , "Cheating Heart" , "Hey Good Lookin'" , and with Patsy Cline on "Walkin after midnight" . Even though he didn't play C6 , most of his stuff can be played in C6 tuning . It's easy and iconic.
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Andy Volk


From:
Boston, MA
Post Posted 15 Feb 2018 6:42 am     Reply with quote

If you want to understand the iconic moves in C6th tuning, there are several avenues I'd recommend.

First, learn some of Jerry Byrd's song arrangements. JB invented C6th and his playing demonstrates many of the classic sounds available in the tuning (Steelin the Blues, St. Louis Blues, Coconut Grove, Slippery Elm, Hula Blues, Adventures in Paradise and on and on). But much more than that is available for the adventurous player.

In Joaquin Murphey's playing, you'll find a wide open concept for the tuning in a jazz/swing context. (Mike Neer now carries the book of Joaquin solos I did with John McGann about 12 years ago). Many examples are on YouTube.

My books "Exploring C6th Lap Steel" and "Hot Strings!" might be of help as would the excellent arrangements and teaching materials available from forumites, Mike Neer, Doug Beaumier and Troy Brenningmyer.

http://www.volkmediabooks.com

http://www.steelinstruction.com/?page_id=22

http://playsteelguitar.com

https://www.lessonswithtroy.com
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Mike Neer


From:
NJ
Post Posted 15 Feb 2018 7:38 am     Reply with quote

Andy Volk wrote:

In Joaquin Murphey's playing, you'll find a wide open concept for the tuning in a jazz/swing context. (Mike Neer now carries the book of Joaquin solos I did with John McGann about 12 years ago). Many examples are on YouTube.



I am out of stock with the Joaquin book and I'm not sure when I'll be ordering again--maybe sometime in March.
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Andy Henriksen


From:
Michigan, USA
Post Posted 15 Feb 2018 8:00 am     Reply with quote

J Fletcher wrote:
Don Helms with Hank Williams , "Cheating Heart" , "Hey Good Lookin'" , and with Patsy Cline on "Walkin after midnight" . Even though he didn't play C6 , most of his stuff can be played in C6 tuning . It's easy and iconic.


This. Pretty much any Hank Williams song will be a great learning device.
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Mike Neer


From:
NJ
Post Posted 15 Feb 2018 9:01 am     Reply with quote

Andy Henriksen wrote:
J Fletcher wrote:
Don Helms with Hank Williams , "Cheating Heart" , "Hey Good Lookin'" , and with Patsy Cline on "Walkin after midnight" . Even though he didn't play C6 , most of his stuff can be played in C6 tuning . It's easy and iconic.


This. Pretty much any Hank Williams song will be a great learning device.


They are a great exercise in how to rephrase and harmonize a melody. Also, invaluable for the intros.
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Paul McEvoy


From:
Vermont, USA
Post Posted 15 Feb 2018 11:44 am     Reply with quote

Thanks this is great. I had dickered around with Your Cheating Heart but hadn’t sunk into it yet. I’ll get on that.

I thought the Joaquin Murphey stuff would not be accessible on a 6 string C6 due to his many tunings and additional strings. Is that not right? Is there stuff that’s specifically on a 6 string or you just grab what you can?

I have a few of Troys videos which are superlative as far as instruction goes. Andy I have your interviews book on my dining room table right now. I’ll look for the other ones.

Thanks again!
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David Matzenik


From:
Cairns, on the Coral Sea
Post Posted 15 Feb 2018 1:12 pm     Reply with quote

I think lovely Hula Hands, the Junior Brown version, makes an excellent exercise in transcription. It is at 8.45 on this full studio album. Junior High.

https://www.youtube.com/watch?v=F3Vt21EN1KY


live versions are not as smooth.
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Andy DePaule


From:
Saigon, Viet Nam & Eugene, Oregon
Post Posted 15 Feb 2018 8:34 pm     A6th, but easy pickin for a beginner Reply with quote

The Lion Sleeps Tonight, The Tokins. Key of F.
Original South African Zulu folk song first recorded by a guy named Soloman Linda.

Not sure why no one has ever done this on steel that I know of.
I've been fooling around with the tune for a few months on and off. Still a work in progress for me because there are a lot of ways to go about it.
Never have found a way to do the "A-whim-bo-whey" lick where it sounds the way I'd like to hear it and that's what's hanging me up.

Great for a beginner. Very easy melody, all major scale and we all know how it should sound so I didn't even bother marking the bars off.
Chords are just 1-4-1-5 over and over again...
Would be great for twin steels as there is a very high female vocal part that would be perfect for a second steel with an e-Bow. I'm not a fellow into electronic gadgets very much, but for that part of this song would be perfect.



Hope this is not so simple as to not be worth the bother? Rolling Eyes Laughing
Could be in C6th with the G on top moved to the 5th fret.
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Andy DePaule


From:
Saigon, Viet Nam & Eugene, Oregon
Post Posted 15 Feb 2018 8:50 pm     Night & Day Lick Reply with quote

Andy Volk wrote:
http://picosong.com/wqUvm/


Thanks Andy,
Can't quite get to that speed, but great passage to practice on .
Those runs he did that are straight out of left field are really amazing. Very Happy
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Custom inlaid Star Guitar 2006 by Mark Giles. SD-10 4+5 in E9th; http://luthiersupply.com/instrument-gallery.html
Promat #11 2007, D-10 Blond & Mahogany with Gold Tuners. Tone Monster.
Clinesmith Triple 8 Console, Birdseye Maple.
Clinesmith Joaquin Murphy style Aluminum 8 String Lap Steel.
Mullen SD-10, G2 5&5 All Polished Aluminum including covering.
1960 Wright S-10 Cable PSG
1956 Dewey Kendrick D-8, 4&2 Restoration Project.
Morrell 8 string lap stee.
Resophonic Steel Body by Edwin Root.
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Andy Volk


From:
Boston, MA
Post Posted 16 Feb 2018 3:40 am     Reply with quote

Paul, much of what Joaquin played in his earlier work fits perfectly on 6-strings.

Andy, I'm a better transcriber now than I was a few years ago. I took another listen and I think this more accurately reflects what JM played:



ps lotta Andy's on this thread!
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Andy DePaule


From:
Saigon, Viet Nam & Eugene, Oregon
Post Posted 16 Feb 2018 5:41 am     Andy, Better than my legal first name Reply with quote

Hi Andy, Better than my legal first name.... Clive Andrew! Laughing

Thats what British parents do to their children.
You know like, Basil, Clive, Ian, Nigel and Cecil. Sounds like a C&W band from Liverpool. Rolling Eyes Embarassed
Some kind of British invasion I guess.
_________________
Custom inlaid Star Guitar 2006 by Mark Giles. SD-10 4+5 in E9th; http://luthiersupply.com/instrument-gallery.html
Promat #11 2007, D-10 Blond & Mahogany with Gold Tuners. Tone Monster.
Clinesmith Triple 8 Console, Birdseye Maple.
Clinesmith Joaquin Murphy style Aluminum 8 String Lap Steel.
Mullen SD-10, G2 5&5 All Polished Aluminum including covering.
1960 Wright S-10 Cable PSG
1956 Dewey Kendrick D-8, 4&2 Restoration Project.
Morrell 8 string lap stee.
Resophonic Steel Body by Edwin Root.
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