Steel Players' Faults

[Eric West]

OK. I'll try, but I'm blasted from a long week.

Maybe it's the correct use of the Lydian Mode.

Using a flatted seventh as a scale note in especially moving to the IV chord. It's very noticeable to people that are trying to play along. It's kind of like the bad habit of guitar players playing sevenths all the time and claiming they're "blues players".

If you're conversant on "Garth Brooks", the correct usage of the Lydian Mode is the fiddle line after the words "Holding You".

I have a couple examples on Bobbe Seymore's Priceless CD that caught my ear, and since he's one of my best friends I don't mind busting his hump a bit. It'll make it all that more memorable when he cuts me to ribbons one day..

If I were in person,, or I was in the mood to go through plugging in and editing a bunch of stuff I'd just post the difference.



EJL

[Ernie Renn]

Since I quit smoking I take up even more space. Guess that's par for the course.

We can be insatiable. Especially when it comes to favorite player recordings.

Another thing is we are never satisfied. Most notably 'tone'.

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My best,
Ernie

www.buddyemmons.com

[David Doggett]

Actually, I like pedal mashin', when it's appropriate in a country s**t kicker. The real culprit is sliding up to every note in every song, whether it's done with the AB pedals or the bar. An opposite trap I find myself in is using the chromatic strings for scale runs and melodies too much instead of moving the bar up and down the neck. If you want to play like a harp, get one. The steel guitar is at its best when there is sliding involved. And as mentioned above, sixthing your way through modern jazz is also a stereotypical steeler fault. Playing too loud, or playing too quiet. Putting their speaker too close and pointing it up in the air so only the player can hear it, instead of out at the audience.

[Ray Minich]

This steel player's fault -- optimism in the face of hopelessness