Read This - ex. Weldon Tribute

[Tony Smart]

What I’m going to pass on here is something that will be invaluable to you when playing melody. Perhaps it’s already been covered, as I don’t always read this section.
I’m going to keep it dead simple, so if anyone wants to argue theory, please start another thread. –Theory puts off a lot of people and it isn’t about theory, but helping fellow players in easy to understand language.

I, like some others on here learnt piano as a kid and the theory part of it does you no harm even when playing by ear. Incidentally, you’re no lesser a mortal “playing by ear,” as graduates have to learn ear training for composing and arranging.

The points I’m making here are a few simple rules that help you know what notes are available to play in different chord progressions. – Don’t worry, it’s dead simple. There is a tiny bit of theory involved but don’t be put off. I know people tend to glaze over at the mention of theory and to be honest so do I most times. The number of people who play steel from the dots is very small so I wouldn’t say it’s a major part of learning for most. Having said that, the more you know about the steel and music the better, especially for C6.

I’m going to start right from the beginning here for people not familiar with musical terms – don’t worry it’s not rocket science.
---------------------------------------------------
As kids we all learnt a musical scale as Doh, Re, Mi, Fa, Soh, La, Ti. Doh.
8 notes in a scale – 7 different ones. In musical terms those 8 notes are given numbers – 1 to 8 and are called Intervals of a scale.
Thus we know that the intervals 1, 3 and 5 make up a major chord and for instance 1, b3 and 5, a minor chord. (Incidentally, when writing scales every number must be used, but only once.)

Pretty basic I know, but one confusing thing here. When we talk about a 7th chord, (e.g. E7th),
we are actually using a flattened 7th of the scale. Confusing I know, but just accept it and bear it in mind for what follows.

We’ll talk here about the 3 chord trick, say E, A and B7 for convenience.

When we play melody with these three different chords, the scale changes very slightly for each chord. It isn’t written in stone but is more often than not the case. However, it doesn’t apply to blues type playing where you’re virtually using minor scales.
You’ll hear the difference when you play the scales in sequence – as follows.

To start off with we play the scale of E the normal way. When we go to A, we sharpen the 4th and finally B7 we flatten the 7th. (Don’t forget these are Intervals of the doh,re,mi scale.)

I would advise you to play using no pedals, but finding the notes first on open strings(E), then (A) fret 5 no pedals and finally (B7) fret 7 the same.

Here it is written out: -

E. 1 2 3 4 5 6 7 8

A. 1 2 3 #4 5 6 7 8

B7. 1 2 3 4 5 6 b7 8

It helps (E9) to use string 5 for playing #4, 5, 6 and b7, just to make the positions and changes clear.

As you can see, there’s not much difference but you will hear it. It’s bit like a sus4 chord that’s crying out to be resolved. The A scale is preparing the way for B7, which in turn wants to resolve itself back to the root chord. (E)

You’ll find it particularly useful on the two outside strings. If you remember to do nothing at A and lower string 2 by one semitone at B7 - unlike me, you won’t go far wrong. Don’t forget though that these scales, especially the A with the #4 appear in most melodies.

Actually there are names for each of these altered scales, which you don’t really need to know, but the collective name for them (and there are more) is Modes – which you may have heard off.

There are more as I say and if anyone is interested I can pass on the others. Funnily enough, what and where they are derived from is quite interesting and simple. Something for another time.

Hope this helps.
Tony

[JohnDavisStringsHere]

Tony ,that 's great input, and really enjoying your tracks....
I reckon for people just getting into music. it is most definitely the right approach learn the numbers then the names then the sounds. I wish I had started that way around. If you start by just learning a few chords and picking the melody from them then like me, your eyes will glaze over when theory gets mentioned.......

[Tony Smart]

I know exactly how you feel John.

[SteelieAJK]

Tony thanks for posting.
As someone with no formal music training who only occasionally dabbles in theory I had never looked at the key scale this way.
I have Scales for E9 (and other tunings) on my website if it helps anyone else visualise this
E major scale (Ionian) same notes as A scale with #4 (Lydian) and B scale with b7 (Mixolydian).
Good hint for me.
Keep 'em coming.

[Uncle Roy]

Really interesting and helpful Tony.
If it is ok with you I would like to reprint this in the next newsletter for members who do not own a computer .
Please let me know.
Regards
Roy

[Ken Byng]

Well done Tony. You have covered a subject that is very difficult to convey. Maybe if you get another half hour to spare you could maybe jot down some thoughts and ideas about the mechanical side of pedal steel.

The first time I saw you play was in Eric's shop, and you were doing some things on C6. You knocked me right out, as most of us were just using that neck as an armrest in those days. You have definitely opened a lot of people's eyes with your soundclips, and it just goes to show that some of us older guys have something to show for our years on the instrument.

Now, if only I can get a decent sound clip of Dave Nash in his prime. He was a brilliant player too in the swing style.

[Tony Smart]

Thank you all for your comments.
Allan,
You can go a long way without any formal musical training on steel (remember Django on guitar) and in my opinion if you can just understand the Interval principle, most stuff can be conveyed easily. You don't have to get bogged down, after all, we are playing for pleasure and your ear is the best tool.

If you read some of the articles on Modes it can be extremely confusing, but with just a simple explanation it all falls into place. Believe me they don't come any simpler than me.

Roy,
Feel free to use the post in any way you wish. After all it's here to help people and I feel we've got a struggle on our hands to keep our instrument alive.
I'll let people digest it for a while and follow it up, a bit at a time and in simple terms with some more modes. A bit at a time is the best way.(if you know what I mean)

Ken,
I don't really know what I can say about the mechanical side - perhaps if you could give me a hint. If anything springs to mind, as it does at times, I'll post.
I must say that although he gets a bit of stick on the U.S. Forum, Richard Burton knows what he's talking about.

Ken, somebody played me a cassette of Dave Nash a few years ago and as you say, he's a unique stylist as well as a great player. Can you get him back playing, or perhaps teaching youngsters?

[Uncle Roy]

Tony, I can you tell that Dave Nash is back on steel. But as he says there is hardly anywhere on the Island for him to gig. But at least after all this time he's back playing.
I guess the cassette you refer to is his Nosh at Nashies. A great album.

[Ken Byng]

Good news Roy. If anyone has a copy of Nosh at Nashy's, could they put a clip or two on here. Doesn't matter if the cassette reproduction is not CD standard, at least it would give everyone an idea of how Dave played or plays.