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Topic: In a licks/vocabulary rut |
Donald Boyajian
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Posted 8 Dec 2013 11:35 am
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Now that I've been playing a couple years, I feel I'm kind of stuck in a rut, in terms of my vocabulary...just feel like I'm playing a lot of very standard, uninteresting moves...I guess the best way to say it is: my playing is very "standard" - my playing is nice and tight, but I'm stuck coping the same licks that drew me to steel when I was first trying to copy the sounds on old Buck Owens records. Just a lot of slamming on A and B pedals...spending 70% of the time on strings 3-6. Anyone else struggle with getting out of this habit? _________________ GFI S-10 Expo. Peavey NV 112 |
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Abe Levy
From: California, USA
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Posted 8 Dec 2013 11:48 am
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I think we all find ourselves in a rut once in a while. One thing I try to do when I feel this way is to try and play in positions with different root notes. For instance: two frets back from open position using the seventh string as the root. There's a nice pentatonic thing there, etc. Stomping the a and b pedals here will not do the same thing, obviously, and so forces me to play differently...
Hope that helps...
Abe _________________ Mostly Pre-1970 guitars. |
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Carl Kilmer
From: East Central, Illinois
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Posted 8 Dec 2013 12:27 pm
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For something different, but really pretty, try using
strings 3 & 4 together open and then use the B/C pedals
from the fret you on and 1-2 frets above there. This is
really pretty in Hughey land (above the 12th fret)
Also try using 3-5-6 together and 5-6-8 nice combos. _________________ aka "Lucky Kay"--Custom built Rittenberry SD10 3X5, Walker S/S, NV-112, and Hilton Pedal |
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Tim Marcus
From: San Francisco, CA
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Posted 8 Dec 2013 12:36 pm
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learn how to play all the same licks somewhere else on the guitar
that should knock your brain around a little _________________ Milkmansound.com |
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Donald Boyajian
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Posted 8 Dec 2013 12:39 pm
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thanks guys- all great ideas. I'm really lazy with the BC pedals- use them for my minor sounds, ascending diatonic runs and turn arounds (the 1-2 frets up with BC and back down), but I feel like there is so much in BC that I'm missing. _________________ GFI S-10 Expo. Peavey NV 112 |
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Lane Gray
From: Topeka, KS
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Posted 8 Dec 2013 1:23 pm
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I like digging into non-pedal steel stuff. Try learning some Jerry Byrd stuff on pedal steel (It's hard to think like that), Jimmy or Jack McGriff organ parts, Sonny Stitt sax lines. All very steel-friendly, but you gotta put your thinking cap on to find 'em. _________________ 2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Sid Hudson
From: Virginia, USA
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Posted 8 Dec 2013 1:28 pm Re: In a licks/vocabulary rut
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Donald Boyajian wrote: |
Now that I've been playing a couple years, I feel I'm kind of stuck in a rut, in terms of my vocabulary...just feel like I'm playing a lot of very standard, uninteresting moves...I guess the best way to say it is: my playing is very "standard" - my playing is nice and tight, but I'm stuck coping the same licks that drew me to steel when I was first trying to copy the sounds on old Buck Owens records. Just a lot of slamming on A and B pedals...spending 70% of the time on strings 3-6. Anyone else struggle with getting out of this habit? |
Everyone has been there regardless of the level of competency. Everyone.
For me, when I get tired of hearing myself play the same old tired lines and ideas
(Which is nearly all the time) my subconscious starts screaming at me.
It is screaming: “It’s time to learn something new Stupidâ€
For me, I have found that learning something new whether it is a new song, a new lick, or studying improvising from a modal concept instead of the traditional playing through the chords. All is extremely exciting to me.
1. Having one more new thing under my hands (or in my head) always gets me out of that feeling of boredom.
2. Make an audio library of everything you learn and review it often so not to forget the cool stuff you will learn as you travel this journey.
3. A Tascam GT-2 guitar trainer is a great tool to for slowing down a CD of someone you are trying to steal a lick from or learn an entire song.
4. Practice with backing tracks. I have not heard anything better than the latest version of
Band In A Box. The instrument sounds are incredible. If you have the latest version BIAB and you are working with files written on older versions they will still sound Cheesy unless the songs have been converted . Get someone to show you how to covert these old files to the latest samples.
5. Last but certainly not least: Lessons, Lessons, Lessons! If you do not live around any good steel players, pack up the car for the weekend and travel to Nashville. There are several great Steel Guitarist in Nashville that teaches. The first three that come to mind is Buck Reid, Doug Jernigan, and Mike Sweeney.
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Chris Gabriel
From: Oregon, USA
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Asa Brosius
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Posted 8 Dec 2013 6:33 pm
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I'm with Lane- non-pedal is a great work out when I start to feel like a pedal masher. Two other thoughts:
1- pick a melody/solo you love from another instrument, and see how it lays on the psg.
2-there must be some seemingly insurmountable 'how'd he do that?" intro or break you've heard, and has stuck with you- dive in. there's free software out there to slow down youtube videos that i find really helpful.
-and I'll double down on Sid's point-know that this feeling is not only common, but inevitable for everyone. |
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Eric Philippsen
From: Central Florida USA
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Posted 9 Dec 2013 12:23 am
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I'm fortunate to have almost all of Jeff Newman's "Woodshed Workshop" tunes. When I get in a rut I pull out one of 'em and learn a lick or two from it. The series has a million great licks. |
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Daniel Morris
From: Westlake, Ohio, USA
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Posted 9 Dec 2013 9:25 am
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Quote: |
Johann. Sebastian. Bach. |
Now jes when did that guy ever sang country music?
Very good point, Chris. I'm (very slowly) learning a Bach piece with a guitarist/steel guitarist buddy. Certainly gets one out of lick-land.
In several contexts, I like to switch on some overdrive or even fuzz, and reverb, then perhaps use an EBow - or just pick - on the lower strings of my U12 to get a pseudo-'cello effect. Or pick the higher strings, high up on the neck, for a sweet violin effect. People have asked me on a number of occasions just how I made those sounds. _________________ 1979 MSA U12 Pedal Steel
1982 Kline U12 Pedal steel
2019 Sierra U12 Pedal Steel
2011 Bear Creek MK Weissenborn
Milkman 40W Mini amp w/Telonics 15" speaker.
Dr. Z Surgical Steel w/TT 15" speaker.
Frenzel MB-50 head.
Spaceman, Empress, Eventide, Pigtronix. |
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Roger Crawford
From: Griffin, GA USA
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Posted 9 Dec 2013 9:33 am
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For me, when I get tired of hearing myself play the same old tired lines and ideas
(Which is nearly all the time) my subconscious starts screaming at me.
It is screaming: “It’s time to learn something new Stupidâ€
Sid, in my case, it's my wife screaming this to me!
Last edited by Roger Crawford on 9 Dec 2013 9:36 am; edited 1 time in total |
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Willie Sims
From: PADUCAH, KY, USA
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Posted 9 Dec 2013 9:33 am
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I agree with Tim Marcus , PLAying in different positions will make you concentrate more. And it's amazing how many different ways you can take a song off such as the song crazy arms, just to name a few.
If you play C6 you can transpose your songs to C6. It's strange how similar the C6 and e9 tunings are. When you think about how the pedal on the C6 neck, that raises the second string and lowers the six. Actually works like the a and B pedals on the e9 neck. With a little practice you can play a lot of the e9 licks on the C6 neck. Try it, you might be surprised. |
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Willie Sims
From: PADUCAH, KY, USA
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Posted 9 Dec 2013 9:34 am
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I agree with Tim Marcus , PLAying in different positions will make you concentrate more. And it's amazing how many different ways you can take a song off such as the song crazy arms, just to name a few.
If you play C6 you can transpose your songs to C6. It's strange how similar the C6 and e9 tunings are. When you think about how the pedal on the C6 neck, that raises the second string and lowers the six. Actually works like the a and B pedals on the e9 neck. With a little practice you can play a lot of the e9 licks on the C6 neck. Try it, you might be surprised. |
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Bob Hoffnar
From: Austin, Tx
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Posted 9 Dec 2013 9:44 am
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A simple thing to also try is play exactly what you play on strings 3 and 5 on strings 5 and 6. Then try playing the same thing on strings 10 and 6. This gives you inversions on the chords using what you already know.
After that I would work on playing those same type scales/licks on strings 8 and 5 using the E lower lever and A pedal. _________________ Bob |
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Daniel McCombe
From: Pennsylvania, USA
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Posted 9 Dec 2013 11:12 am
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I just purchased Kev Ryans "Hot and Sassy Steel Licks" both volumes and Its giving me a good workout. 1-3 bar phrases many of them single note fast runs that are very interesting. Check it out its well worth the $$.
http://kevyx.com/instruction.html |
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Jon Guirl
From: Millington TN, USA
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Jim Bob Sedgwick
From: Clinton, Missouri USA
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Posted 10 Dec 2013 7:37 am
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Try playing melodies on strings 5 & 6.
Use only A and B pedals. Do not play any licks, Just melody. You will have to move up and down the neck quite a lot to find the melody. This will open up the neck for you. Practically any melody can be played this way, and will open your mind to a thousand ideas.
Think back to the days when the pedals were first split. They had no knee levers and had to find where the sounds were on the neck. hope this helps |
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Mike Cass
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Posted 13 Dec 2013 1:11 am
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find yourself some Gospel recordings featuring Sonny Garrish, you should be able to get his discography online somewhere. Get the Tascam unit Sid mentioned and go for it.
Ol' Sonny will take you some places you've never been before, trust me.
This line of thinking was given to me by the late Curly Chalker. I met him when I was in my teens, and after expressing to him much the same sentiments as you did in your post he advised me to pick a Nashville pro player, learn everything about his style that I could, then move on to the next guy. He said that after paying close attention to at least 2 pro players I would learn the neck and develop the habit of practicing in my head.
Then he said that the only thing needed to keep my hands sharp was sitting at the guitar 1 hour a day working out what my head came up with during the other 23........ |
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Jim Hoke
From: Tennessee, USA
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Posted 14 Dec 2013 2:53 pm
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Take one of your standard grips and move one of the notes down an octave. Like, 3-4-5 becomes 3-4-10. Also, instead of a grip that has all 3 triad notes, lose one of them and have 2 different octaves of one one the remainders, like 4-5-8 or 5-6-8. It's a more open sound, and when you move these around with pedals, cool stuff happens. It's an interesting texture for playing the melody. Also, listen to old Lloyd Green stuff w/ Paycheck - he's pretty interesting. If you dig into what he's doing, you'll end up w/ all kinds of new stuff and it's still fresh. |
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Jim Hoke
From: Tennessee, USA
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Posted 14 Dec 2013 2:54 pm
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I mean 5-6-10. |
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Scott Hay
From: Portland, OR / Yucca Valley, CA USA
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Posted 15 Dec 2013 10:15 am
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Buddy Emmons E9 Chord Vocabulary!
http://www.buddyemmons.com/CE9CV.htm
One of the best $20-$30 you'll spend on steel guitar. It will give you ideas for new chord positions for you to explore and develop licks from, but most importantly it will give you a system for mapping all the different positions on the neck in a logical relational manner that is easy to remember.
I bet b0b sells that course on the forum store.
Lots of good advice in your thread for you to consider.
Good luck! |
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