Pedal Steel- Barriers to entry
Posted: Mon Dec 22, 2014 4:04 pmA lot is made of why there aren't more young British steelers. While I actually believe that things are in some respects better than they were before, I thought I'd throw my hat into the ring, as a young British steeler myself, with the view of provoking some conversation. All my opinions are my own, and of course are not meant in any way to criticise any other musicians, who I hold in the highest esteem.
Complexity.
The Pedal Steel is a notoriously complex instrument. However, I think that its supposed difficulty is compounded by the fact that the steel is mostly approached by guitarists. Guitarists often apply their learning through fretboard based visual stimulus (chord shapes, scale patterns), which are largely stripped away by the steel. Although theory is arguably easier to apply on the steel than the guitar, it requires guitarists adopt a more generalist (theory based) approach to harmony, which they may have previously circumvented. In short, the guitar is actually very poor mental preparation for the steel, even if it helps with the right hand.
Price and availability
There is only a small first hand market for steels. While the second hand market is booming, it can be difficult to navigate safely, even for relatively experienced steelers. Steels are very expensive and require a car. Generally young musicians (without an older family friend) have to buy a steel in order to try it out, rather than experimenting in their school or music college. This can be intimidating and requires a robust cash flow and sense of adventure. Starter models are OK, but require prompt upgrading and don't represent particularly good value, or in the case of the Stage 1, barely qualify in terms of price as starter models at all.
Access to instruction and diverse materials
Young players need instruction. I have had great fortune to learn with accomplished steeler who shares my taste and attitude. However, many players do not have these sort of opportunities, meaning that pedal steel is largely auto-didactic and thus inaccessible to many. Even with the internet, good instruction is rare and frankly there are too many poor quality resources swamping the good ones. Mickey Adams can't do it all on his own. Another issue is the massive prevalence of instruction in purely country music (Together Again, anyone?), which surely does not represent a diverse range of musical styles that the steel is capable of contributing towards. Other esoteric instruments usually have a wider set of tunes (Concert harp) or deeply embedded institutions for its practise (Bagpipes, military snare). This may simply be a mark of the instrument's relative youth.
So what does this mean. Ultimately it means that young players have a series of hurdles to rise above, some musical, others financial and logistical, which prevent easy access to and experimentation with the pedal steel. On a more downbeat note, it also means that possibly the players who are most able to take up the steel are possible not those potentially best at it, but simply those who can afford its significant requirements of time and money. I would love to know what you all think. Tim
Complexity.
The Pedal Steel is a notoriously complex instrument. However, I think that its supposed difficulty is compounded by the fact that the steel is mostly approached by guitarists. Guitarists often apply their learning through fretboard based visual stimulus (chord shapes, scale patterns), which are largely stripped away by the steel. Although theory is arguably easier to apply on the steel than the guitar, it requires guitarists adopt a more generalist (theory based) approach to harmony, which they may have previously circumvented. In short, the guitar is actually very poor mental preparation for the steel, even if it helps with the right hand.
Price and availability
There is only a small first hand market for steels. While the second hand market is booming, it can be difficult to navigate safely, even for relatively experienced steelers. Steels are very expensive and require a car. Generally young musicians (without an older family friend) have to buy a steel in order to try it out, rather than experimenting in their school or music college. This can be intimidating and requires a robust cash flow and sense of adventure. Starter models are OK, but require prompt upgrading and don't represent particularly good value, or in the case of the Stage 1, barely qualify in terms of price as starter models at all.
Access to instruction and diverse materials
Young players need instruction. I have had great fortune to learn with accomplished steeler who shares my taste and attitude. However, many players do not have these sort of opportunities, meaning that pedal steel is largely auto-didactic and thus inaccessible to many. Even with the internet, good instruction is rare and frankly there are too many poor quality resources swamping the good ones. Mickey Adams can't do it all on his own. Another issue is the massive prevalence of instruction in purely country music (Together Again, anyone?), which surely does not represent a diverse range of musical styles that the steel is capable of contributing towards. Other esoteric instruments usually have a wider set of tunes (Concert harp) or deeply embedded institutions for its practise (Bagpipes, military snare). This may simply be a mark of the instrument's relative youth.
So what does this mean. Ultimately it means that young players have a series of hurdles to rise above, some musical, others financial and logistical, which prevent easy access to and experimentation with the pedal steel. On a more downbeat note, it also means that possibly the players who are most able to take up the steel are possible not those potentially best at it, but simply those who can afford its significant requirements of time and money. I would love to know what you all think. Tim
