Learning new music on the steel

Wayne Franco · Post by **Wayne Franco** » 11 Jun 2003 9:59 am

Do you feel the same way as I do. Is like "one step forward and two steps back. Sunday at a more country oriented jam I felt I could't play a wrong note. Tuesday at practice I had 2 left hands, couldn't seem to play a clean phrase. Sometimes this instrument just kicks my ass! I know anyone out there that is serious about playing has these ups and down. Learning a new neck (C6) and new music at the same time (Jazz,Swing,etc)is a humbling task at times. Have you ever felt like you're literally taking your music apart and putting it back together again?...I just can't think of an easier way.

Gary Lee Gimble · Post by **Gary Lee Gimble** » 11 Jun 2003 10:32 am

What you are describing requires a few shots of cask strength MaCallan. That will cure your "ups and downs," you will be up all the time!

So, who was at the jam, anyone I might know? Geez, its only been 23 years since I departed the Pacific Northwest. I know, the town isn't the same since I left!
Gary Lee

Larry Bell · Post by **Larry Bell** » 11 Jun 2003 11:59 am

Y'know, I've talked to a lot of steel players over a lot of years and don't know of a single one who doesn't PERCEIVE that they have bad nights when nothing goes right. I've even heard E say that, but I've heard him play a bunch of times and I must not have been around for that particular night. Some players are better on a bad night than I could ever aspire to be, BUT all seem to feel the 'ups & downs' thing is inevitable. What I really hate is when it happens the day of a recording session. I think I have more than my share on those days.

Same goes for learning. Some days stuff just 'sticks' and other days you'd might as well change your strings and lube your guitar. There are things you can do to minimize those bad days. Plenty of sleep; absence of external stresses; not hungry but not stuffed either; not drunk or stoned or otherwise mentally impaired (any more than usual) -- all those things will help.

Another thing that helps learning is to break things down into small chunks. Don't try to digest a whole song at once. Limit yourself to 2 or 4 measures at a time and get it perfect before you move on. Don't work on too many things at the same time. If you want to learn 4 songs, take one at a time and don't move on to the next one until the first one is done.

These things are somewhat common sense, but I find common sense is not really that common.

------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps
[This message was edited by Larry Bell on 11 June 2003 at 01:01 PM.]

Bill Myrick · Post by **Bill Myrick** » 11 Jun 2003 4:34 pm

To me, this instrament reflects a persons feelings at the time, more than any other I know of. I know my emotions always seemed to show through no matter where or what the gig was. Sometimes even "Jack" didn't help much ! -

Bobby Boggs · Post by **Bobby Boggs** » 11 Jun 2003 9:59 pm

Good point Bill.If I'm nervous or worried about somthing my playing is pretty much fluff.But some of the best playing I've done is when I'm really angry.I'm known as a pretty aggressive player anyway.But when I'm angry I'll try anything because I have no fear.I also play harder and come closer to nailing it to the wall so to speak.This is not just my imagination I've heard the tapes.In fact I never realized this till I heard the tapes.Lucky for me.The club owner I work for is a fool,and his son in law.The wanna be sound man is an idiot.So I stay mad most of the time.

......bb

Wayne Franco · Post by **Wayne Franco** » 12 Jun 2003 5:18 am

I think that is good feedback you guys. All of those things do affect my playing. I am going to try and limit how much I am learning at a time. My problem has been learning basic music theory...raw scales, figuring out myself where I think the best places to play them are THEN using this new knowledge in a song context. Its a lot of work to be sure. Many of the jazz players don't learn a specific solo after playing the head. That is certainly different from the slick worked out arrangements most steel players aspire to. Someone in a recent post said BE worked backstage on just chimes for several hours after playing a set.

John Lacey · Post by **John Lacey** » 12 Jun 2003 7:23 am

It's just going to take some time to integrate all the learning components that you are working on and then letting them go and just play. It's a left brain/right brain thing that takes a few years of live playing to assimulate. I remember having to practice for 1/2 an hr. before the 1st. set just to keep up with the other guys. Now there's no real warm-up needed.

Bob Carlson · Post by **Bob Carlson** » 12 Jun 2003 7:37 am

At my age...if my hands are cold it sure makes a differance.

Bob

Wayne Franco · Post by **Wayne Franco** » 12 Jun 2003 9:23 am

I feel your pain Bob! I'm not getting any younger myself.

Rick Collins · Post by **Rick Collins** » 12 Jun 2003 12:27 pm

Sometimes this instrument just kicks my ass!

Well W. Franco, maybe that's because sometimes you need a good a$$ kicking___just kidding W.

Seriously, all of these are good replies. Relate this to shooting basketball goals. Sometimes you're red hot, and some days you couldn't hit the side of a barn.

Larry Bell has the right idea of "breaking it into chunks". The more you can split your practice into detail, the better and faster you will learn. It's like putting together a jigsaw puzzle;___each little piece must fit with other pieces.

Rick

Wayne Franco · Post by **Wayne Franco** » 13 Jun 2003 11:49 am

That really is good advice. I will try working on smaller pieces of the song. I'm thinking I may have to write or record what I've already worked out because I tend to get a good idea then forget it.