What to play

Kay Whitesides · From: Texas, USA

I am a step above rank beginner, I know chord positions etc. but last night I was jamming with a band that was doing Christmas songs, It came upon a midnight clear , Mary did you know, etc and I felt lost. The country fills I knew didn't fit. Rhythms seemed off etc. I can sing these songs and strum rhythm guitar, I don't know. It was very depressing. Bout the time I think I am progressing things like this happen. Any advice?

Larry Hobson · From: Valley Grande (Selma) Al USA

Don't be too concerned about it. The feeling you are talking about will probably go away Dec. 26 only to return next Dec. I experience them every year about this time. Merry Christmas.

Fish · Posted 8 Dec 2018 7:46 am

Hi Kay,

Good for you for being open enough to ask. This is the first step to becoming a more versatile player; we've ALL been there, playing in a new musical setting where we feel uncomfortable and don't know what to play. But by putting yourself in challenging musical settings, you'll ultimately become a more versatile musician.

What to do when the usual stuff doesn't fit? Here are a few ideas:

1) Listeners love the sound of our instrument, the way a chord swells with the volume pedal and notes become more soulful with vibrato. Since you know the chords to these songs, concentrate on playing simple chordal swells - using wide inversions (4-6-10 or 3-5-8 on E9th) and your volume pedal for more sustain.

2) Now, take that chord inversion and slide up or down the fretboard, weaving in between the lyrics. Again, keep it simple.

3) Save your lick ideas for the end of sections and use them as transitions into a new verse, chorus or bridge.

4) Remember chimes! A well-placed chime sustained for a measure or two really adds sparkle to a song.

5) Always strive to be in service to the song and the singer. Sometimes all you need to do is "play the song" - meaning simply play through the chord changes - and not worry about fills. Try to play as little as possible and still help bring the song's message across. Steel hot licks aren't going to work so well on "Silent Night," but a nice chord here and there will lift it beautifully. Trust me, people will smile when your steel subtly slides into the track.

Whatever you do, don't give up. I can't tell you how many times I've wanted to pack it all in. But after a while, I put on a track or two that inspires me (like say "Rainy Day Woman" by Waylon Jennings or "Farewell Party" by Gene Watson), then I jump back into the water and practice practice practice.

Keep going, and good luck!

Larry Behm · From: Mt Angel, Or 97362

Well after what Fish said I guess you can closer er up, not much left to say.
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Dave Campbell · From: Nova Scotia, Canada

a lot of christmas tunes have deceptively irregular changes, or at least different enough changes from standard country fare to throw musicians off. some of the tunes can be hard to just jump on and play.

Donny Hinson · From: Glen Burnie, Md. U.S.A.

We've all been there. When you're starting out, everything seems complicated. You really need some insight and guidance at this point. Find another steeler (not too hard in Texas) that you can meet with, and maybe get a couple of one-on-one lessons. Or, just get out and watch what other steelers are doing when they're backing slow songs. (It's hard to do this on YouTube, because they usually only show the steeler close-up during rides and intros.) Don't try to learn in a vacuum. Too many just sit at home endlessly playing things by themselves, and think that's all they need to do to learn this thing. Learning takes exposure to other steel players! I learned more in an hour from personally sitting and watching guys like Stu Basore, John Bechtel, and Bill Taylor than I would have ever learned from seeing them on a screen.

You probably already have some ideas, but don't know how to apply them. Get some personal help from another player - now!

Dave Mudgett · From: Central Pennsylvania and Gallatin, Tennessee

Agree with everything Fish said, and I think it's possible to say more ...

With especially pedal steel, it's sometimes possible to function pretty well as a fill-machine, with the occasional break, over mostly simple 3-chord or 4-chord songs. And that can be lots of fun and sound great.

But there is a whole 'nuther world of music out there that requires a different approach. Most traditional Christmas carols I know sound much closer to classical music or jazz/pop standards, probably because most of them were written either long ago or during the years when jazz/pop standards ruled the music world - let's say 1930s to 1950s. I had never heard "Mary Did You Know" before, but when I listened to it, it pretty well fit that traditional music mold to my ears, even though it was written much more recently.

For example, the melody to "It Came Upon a Midnight Clear" was written by Richard Storr Willis, who studied music with classical composer Felix Mendelssohn. The way I usually hear it these days, it's inflected with a notable jazz/pop sensibility with some modern chord substitutions. I hear lots of other classic Christmas carols similarly - look at this list from wikipedia - https://en.wikipedia.org/wiki/Christmas_music#Standards

I think it would help anybody's playing to listen to a bunch of these, and then alone, just try to locate and pick out the chords from each as they play, just to get a sense of where they are located on the neck and how they sound and feel. Then perhaps try to feel out where fills, licks, chimes, and so on might be, as Fish is suggesting.

Since you can sing these kinds of melodies, I also think it would be very useful to just listen to the melodies and try to play just the melodies on the steel. Maybe start with some simple ones like "Silent Night" or "Away In A Manger", and then move on to the more difficult songs. I played my first local steel guitar show earlier this year - I had to force myself to just sit down and learn to play complete songs, start to finish. It's really a different world than putting fills/breaks into a song.

I listen to classical music and jazz/pop standards quite a bit - I grew up playing that kind of stuff on piano, which helped a lot. My take is that if one can hear what's going on with that kind of music and somehow translate that to one's instrument, it's possible to figure out an awful lot of stuff that comes along. So I also suggest listening to a wide variety of music - but especially classical and jazz standards. I think learning to feel one's way around this kind of music will help hearing changes and playing in any style of music.

Just saw Donny's post - of course, working with other steel players is a good idea. Depending on where you are, that might be relatively easy or hard, but worth the trouble if you can find some in your area. There are videos out there that are very instructive - David Hartley, Mickey Adams, and others come immediately to mind because they give you clear shots and sometimes explanations of what they're doing. There are also people giving lessons via Skype if you're not near any teachers.

Greg Lambert · From: Illinois, USA

Dont worry about it Kay. Ive been playing around 40 years and I still have those moments on some songs. thankfully I just nod to the lead player and he usually get me out of that jam. lol

Kay Whitesides · From: Texas, USA

Thank you all for the encouragement. I also like recordings where the steel plays chords sliding in pedals levers and positions. Going to concentrate more on that. Going to be playing at my church now. I'm gonna just jump in and pray for the best. Thanks again

John Spaulding · From: Wisconsin, USA

Here are some ideas to try and expand:

Backing A Singer Part 2
Backing A Singer Part 4

Kevin Fix · From: Michigan, USA

Super good advice Fish!!!! Over 35 years here with Pedal Steel. I would have to tell you the same thing Kay!!!! Every once in a while a song will come up that is totally different that I normally would play. I will either play some nice fat chords, sliding up or down and pulling in with a pedal or bending something in with a knee or pick out some of the melody. Like Fish says, throw a chime in here or there. Good Luck to you Kay and God Bless!!!!

Bobby Nelson · From: North Carolina, USA

I would strongly agree with Dave's opinions about Christmas songs. Although new to pedal steel, in my music studies throughout the years, I would say that learning classic Christmas songs really set me on a course toward advanced musical learning. it requires you to look at music in a more advanced way chord progression wise, rhythmically, harmonically and, especially, melodically. Over all, old Christmas songs are so well written, they made me think in a much more musical way than most modern (post R&R) stuff.

Dick Wood · From: Springtown Texas, USA

If it makes you feel any better,I've been playing professionally for 39 years and I can't play those tunes either. It's just a matter of sitting down and working them out.
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Rick Campbell · From: Sneedville, TN, USA

Rick Campbell · From: Sneedville, TN, USA

Tony Prior · From: Charlotte NC

to piggy back on to what FISH stated, something we overlook , perhaps on any or all instruments. Intervals . Studying intervals, hearing the sounds up , down and across the fret board. Its not studying LICKS or phrases but rather training our ears to become familiar with "where the tones are".

We don't have to do this for hours each day but we should do it for a few minutes each time we sit at the instrument. A- ped, B- ped, E Levers etc, string combos etc.

As of late I have been spending a good bit of time with the B Benders, I'm not the local whiz kid, not by any stretch , but I do apply the chord positions and intervals I already know to the B puller. Friends are asking me how I know so many licks, my response is I'm not sure I know ANY licks but I know where they come from ! I hear very familiar positions from the likes of players like Marty S..who I would bet everyone elses money that if we asked him he would say I don't play licks, I know where they come from, then I play them !

Spending time with various intervals up, down and across the fret board allows is to hear and train our ears. When we hear phrases in music at some point we can identify with them and say.. "I know where that comes from" .

Remember what Reece used to tell us, Perfect Practice.

What Fish stated is excellent advice , something we should all apply regardless of our experiences.
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Bill Terry · From: Bastrop, TX

Tony Prior · From: Charlotte NC

Sonny Jenkins · From: Texas Masonic Retirement Center,,,Arlington Tx

Bill Terry · From: Bastrop, TX

Yeah, I actually use 5 and 8 more than 5 by itself, but for clarity I kind of wanted to explain it in a more simple way.

Using 5 with 8 rocks.. I find I can wander up and down the neck using the E lever and the A pedal and usually stay out of trouble. Once you 'hear' those intervals as Tony noted, it's pretty amazing how you can just 'follow your ear'.

Without trying to be too profound, I've actually thought about this quite a bit over the years; how somehow your hands, ears and brain communicate in a way that is outside your conscious thought.. At least that's how it seems to me. I've read that musicians are kinda wired up in different way to be able to do that. Improvisation falls into the same camp when it's really 'right'.

Sorry, topic drift.

Franklin · Posted 15 Dec 2018 6:49 am

Kay.

To isolate intervals as "one being more important to know than the next" is the same as saying just learn the vowels and you'll figure out how to spell....

If you want to play all chord types you must know how to recognize all of the intervals equally.....That is so easy to accomplish, it takes about two weeks of memorization....So many musicians think it is difficult viewing music through intervals that they dismiss more upper extended chords due to a lack of knowledge....There are just two chord types major and minor...Knowing the basic intervals 1 .3 .5 .6 .7 .9 .11 13 which are from the major scale we learned to sing in elementary school..They are: (using two octaves) we sing them as Do/ Mi/ So/ La/ Ti/ Re/ Fa/ La.....All chords are constructed from these...When can # or b the 3rds, 5th's, 7th's, 9th's,

By viewing chords simply as majors and minors as Joe Pass and Ted Greene did, we can see how to substitute within those two chord types very clearly, just by using our ears to judge what sounds best for the substitution.....

When you see any chord you can play a root and fifth but you are not really coloring well....If you see for instance a C9th the 3rd and 9th will sound richer but you will have to acquire that initial short commitment to memorizing intervals,,,,Good thing is no guitar is needed to memorizing intervals. I have a chart for where they are located on my blog....Speaking in intervals is the universal language of musicians.
Happy Holidays!
Paul Franklin

Bob Hoffnar · From: Austin, Tx

What I do when I'm playing music that I don't have any licks for is listen to the music and sing a backup part or phrase that fits around the melody. Then I play what I sang. It's fun to listen to music and think of what extra part might help the tune out. Maybe walk up with the bass player to the next chord or play in unison with the piano player or trumpet.

The only trick is that you need to be able to play what you hear in your head. You can practice it by learning to play melodies from recordings by ear. It also helps to learn about how basic scales, intervals and chords lay out on the neck.
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Fred Treece · From: California, USA

This:

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Kay Whitesides · From: Texas, USA

Yes I wish you were near also. I have tried to find a teacher but I have anyone close. Where I live Internet isn't available. They claim it's coming in the next year. Thanks for the info I have to admit I don't do many licks in waltz tempos mostly just chords and inversions. Gotta work on that. Thanks again

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