Learning advice

[Phillip Leggett]

Hi everyone,

I’m rather new to pedal steel but taking it up quite quickly! I’m three months in.
I’m wondering how people started their journey learning pedal steel?

Is there any particular path/tuition that anyone would recommend? Also, would there be any tips to know where I am on the board? I’ve been playing guitar for 20 years and this seems like a maze to me at the moment!

All the best,
Phill

[Tucker Jackson]

Maybe sign up for one of the Paul Franklin online courses, like the Fundmentals course?
https://www.mmmlearn.com/collections

Also, in terms of fretboard mapping, if you haven't figured it out already, you'll soon find yourself making the same kinds of mechanical moves over and over on the PSG, like playing open strings and then stepping on the AB pedals.

If you can translate the chords of a song to the number system, it greatly helps find your positions (i.e., which fret, plus which pedal or knee lever). It then all become almost a mechanical thing of say, seeing "4" on the chart, and knowing you can step on AB pedals. It doesn't matter what key you're in because the rules are the same. If you're in home fret, no pedals, for the chord thats the song's key, you can always get to the 4 chord with AB. Simple. And most simple songs only draw on 6 different chords. Learn those 6 chords -- and learn them in 2 pockets -- and your on your way.

See my posts in the link below. It organizes all the chords you might need in a simple song into two pockets (a small area of the fretboard).
One pocket is based on the fret where the no-pedals version of the chord is... based on the key of the song.

The other pocket is based on that same chord, but at the fret where the pedals-down version of the chord sits.
You can play these chords using any combination of any of these strings:
3-4-5-6-8-10

viewtopic.php?t=407917
.

[J D Sauser]

I am afraid, our heroes' journey, with that I mean that of the Buddy Emmons' and Co. Generation, will in most cases be very different that the generations from the 80's on up.
Most of the ol' cats started out non-pedal, then moved to pedals on a "Swing"-tuning (C6th, E13th, A6th) and only later moved to E9th.

Most of today's players have started on pedals and the latest generations on E9th mainly... some of them trying out C6th only years into playing or learning E9th.

I have written on here many, many times, that we shouldn't forget that it IS a STEEL guitar... meaning the bar CAN move and make music.

Organization!:
- Learn to locate several inversions up and down the neck, covering the octave with different pedal/lever combinations and string groupings.

- Once you got that as a map burned into your minds so that you "see" the next version of that chord on the left and the right of where your bar may be, ask yourself "Where Is IV?"... meaning "where is the closest position of the next chord a 4th up? That is like, when you play C, you should "see" F the closest left and right of your C position. C, in this example could be I and you going to IV. C could also be V and you going "home" to one. And once you see that next position, you should immediately "see" it's inversions to the left and right of where you just landed... and on and on.
Western Music tends to move in 4ths. With "Western" I don't mean exclusively "Country and Western", but pretty much anything musical originating West of the Middle East.

- There is a LOT of FREE musical information on the Net. Use it... and just like our heroes of the past did, don't limit yourself to "Steel Guitar" related videos!
- It is said that one should "learn" solos and pieces. I must say, I feel one should not dig into firmly into learning as solo exactly like our heroes, but one should "PLAY"-around with ideas, riffs, phrases and lines and ANALYZE and UNDERSTAND them, what it is that is being played and to what chord-position they "attach", so that we can use ideas, simplified or as played or even made more complicated when ever possible.

- Technique is important! And at the beginning, newcomers would be well advised to follow directions from well formed instrumentalists. But once you are "functioning", also learn to let loose of orthodoxies. Me still read on here about palm, or pick-blocking. It must not forcibly be "this of that", as long as it is not sloppiness, it can be a little of both.
- I've also suggested many times what I have been told by my mentor, Maurice Anderson: Watch your posture! First it affects health, and well being, besides that, sloppy posture is not furthersome to good playing in my opinion.

- Resist the urge to become a "machinist". Few of us are, and some have made the instrument better. But in general, every instrument is a "machine". Every instrument is not exactly or totally "orthopedically" constructed. At first it IS awkward and un-comfortable. The picks the bar, the pedal and levers... it's all metal and not very organic. But your guitar is probably way more advanced, less difficult to actuate it's changes and in general more precise than the instruments our heroes have played and laid down incredible musical pieces which still perdure. You don't need special pedals, pads, a pair of shoes which becomes the only one you can play that thing with. Just snuff it up, learn, analyze, correct yourself and make your stand. You don't need to become the next Buddy Emmons or whom ever you admire the most. Become yourself. Music is all about self-expression.

Courses:
- Paul Franklin's online course may seem expensive, but it is well worth every cent of it. Yet, it's quickly fairly advanced. There is NO course as in depth as PF's!
- Some of Jeff Newman's material can still be found used in the Buy Sell section of this forum and e-bay. Get the VIDEOS. Yes, musically it's dated, but his approach to teaching was one of the best from the bottom up.
- IF you are on E9th and IF you can find a copy, get Maurice Anderson's "The Missing Link". This course is TOTALLY different to anything else published and sets you up to understand the E9th neck up and down and gets you playing you own stuff and helps you find where to look on your guitar's neck for music you hear and want to explore.
- Listen to OTHER instruments. It's MUSIC! Yes, every instrument hast it's "thing" and also it's limitations. You can't play like a piano, but one can learn an awful lot from guitar, piano, sax and other instruments' players.

Experiment! IF you find something that sound awesome and don't know what or why it is, trust your ears and ask yourself "Does it sound good?". Trust me, one day, sooner than later, you'll acquire the knowledge and realize it was true and good.

"THEORY":
IF one really good thing came out of all the Internet stuff we are flooded with, it could be the recognition that there NO ONE Music "Theory".
We have after all come to realize that Theory is just that... it's not LAW and it's never singular.
It's TheoriES, and any good theory is usually not much more than a hopefully WELL explained opinion of view point.
The internet and tutorial videos really have shown that even great musicians which do "know" or "understand" what they are doing and why, often have surprisingly different ways to "look" at music or explain it.
Use the theories which SIMPLIFY things so you can a) understand and b) apply them MUSICALLY without needing a scientific calculator. Some of these theories will become replaced as you compound knowledge and understanding... you might actually come up with your own theories.

Finally: ENJOY. Don't dwell on exercise routines beyond understanding or acquiring a particular technique.
Don't play things you don't like. These days "nazi" teaching disciplines are over.
BUT, don't forget that what we've heard our heroes play on hit records and at conventions, usually represents the pinnacle of their prowesses at the time when they played it... and that while yes, they may have been blessed with talents only few have, they've practiced, practiced and practiced relentlessly for days and nights for months and even years.
It seems to me somewhat difficult to imagine that we can seriously set out to learn not just a new instrument but often MUSIC as such from scratch by trying to copy the professional work of bonafide artists right from the get go and expect success instead of the looming train wreck and frustrations.

With that, I don't mean to suggest to learn from people who can't play or are just half a month ahead of us... but let's go at it with at least music we feel we can memorize, sing or at least hum.

I could go on and on... but this is yet again a post that is way too long.

... J-D.

[Kevin Hatton]

Get yourself a divorce lawyer and a psychologist. You’ll need ‘em.

[Phillip Leggett]

Maybe sign up for one of the Paul Franklin online courses, like the Fundmentals course?
https://www.mmmlearn.com/collections

Also, in terms of fretboard mapping, if you haven't figured it out already, you'll soon find yourself making the same kinds of mechanical moves over and over on the PSG, like playing open strings and then stepping on the AB pedals.

If you can translate the chords of a song to the number system, it greatly helps find your positions (i.e., which fret, plus which pedal or knee lever). It then all become almost a mechanical thing of say, seeing "4" on the chart, and knowing you can step on AB pedals. It doesn't matter what key you're in because the rules are the same. If you're in home fret, no pedals, for the chord thats the song's key, you can always get to the 4 chord with AB. Simple. And most simple songs only draw on 6 different chords. Learn those 6 chords -- and learn them in 2 pockets -- and your on your way.

See my posts in the link below. It organizes all the chords you might need in a simple song into two pockets (a small area of the fretboard).
One pocket is based on the fret where the no-pedals version of the chord is... based on the key of the song.

The other pocket is based on that same chord, but at the fret where the pedals-down version of the chord sits.
You can play these chords using any combination of any of these strings:
3-4-5-6-8-10

viewtopic.php?t=407917
.

This is great! Thanks very much, mate!

[Phillip Leggett]

And thanks J-D! Such great advice, I really appreciate this. It’s very kind of you.

[Phillip Leggett]

Get yourself a divorce lawyer and a psychologist. You’ll need ‘em.

I’ll have to get married first..that’s my loop hole. I’m smart

[Bud Angelotti]

Hi Phil, Try playing along with music that you already know. I used to play along with bluegrass music, tapes and such that I already sorta know.
It's also fun to play along with a radio. ANY kind of music and see where the steel might fit in. Commercials also for sure!
Find the key, 7th string open, e9th, and go from there. Have fun.
Cheers,
Bud

[J Fletcher]

Hundreds , maybe thousands, started with Winnie Winston and Bill Keith's "Pedal steel guitar " instruction book . Still use mine , 30 years on . Highly recommended!

[Casey Saulpaugh]

Focusing some practice time on right hand picking/blocking will go a long way. For most players this is the most challenging technique to learn on the instrument - the sooner you can get a solid foundation with it, the further (and quicker) you'll be able to advance on the instrument.

For example, if you know licks from records or books, or maybe from playing guitar or another instrument, if you can't pick and block those notes cleanly on the pedal steel then it becomes difficult to transfer this knowledge to the pedal steel. If you can sing something, or hear something in your mind that you want to play, then transferring it and playing it on pedal steel becomes much harder if your right hand doesn't have the ability to pick and block these notes and it can be a barrier.

However, it's a much simpler technique than it seems, it doesn't have to be as mysterious and challenging as it sometimes presents itself - so this in itself is encouraging and you can really make a lot of progress with it sooner than later, and it will become more natural where you don't have to think about it much and muscle memory takes over.

Sure, it is a challenging technique, so patience will certainly be helpful, but you can really make a lot of gains with it in a shorter amount of time if you're aware of what/how to practice it. Many times, beginning a practice session with a 10 minutes of picking/blocking exercises can really improve the rest of the practice session as well.

When you combine right hand technique with memorizing/mapping out the fretboard (patterns, licks, and positions really help with this, so does the Nashville Number System) then you'll get a lot of momentum. Starting to learn licks, chords, scales, and melodies at the main positions is also a great way to do this and build a solid foundation on the instrument.

[J D Sauser]

Get yourself a divorce lawyer and a psychologist. You’ll need ‘em.

I’ll have to get married first..that’s my loop hole. I’m smart

No you don't! She will shred that thing and fire up the furnace with it, before you are finished to babble "but I love you!"

... J-D.

[Bill McCloskey]

I can tell you what has helped my learning more than anything else:

Joining a band with a large set list, weekly rehearsals and an upcoming gig.

Learning 45 tunes, figuring out what the steeler was playing on the original records, playing with other people and not wanting to make a fool of myself has taught me more and forced me to learn quicker than any high priced online course, book or DVD.

[Jon Voth]

I can tell you what has helped my learning more than anything else:

Joining a band with a large set list, weekly rehearsals and an upcoming gig.

Learning 45 tunes, figuring out what the steeler was playing on the original records, playing with other people and not wanting to make a fool of myself has taught me more and forced me to learn quicker than any high priced online course, book or DVD.

100% This

[Dennis Belt]

I’m coming from a similar place; long time guitarist taking up the steel. I’m about 9 months in.
The most helpful thing I’ve found is the wealth of tab here on the forum. Learning some of the classic solos and tunes showered me how and what to play over a given chord. This really helped building up a (in my case small) repertoire of licks to plug in where needed.
Good luck!

[Henry Schuellerman]

I've been playing for a little less than a year and have taken probably a less traditional approach to it. I learned some basics on youtube, then quickly joined a band, then two, then three different groups that play original folk/country/rock. I don't play PSG on every single song, and sometimes stumble through songs trying to come up with parts in practice, but it has been so much fun. I think it helps me learn how to apply the pedal steel in a broader musical sense and "serve the song".

That being said, I still try to sit down as much as I can to hard-learn licks and techniques... the "Steel Picking" youtube page is an amazing & free resource.

[Bobby D. Jones]

For the E9th neck, And with your knowledge of music. Here in the forum store they sell Mel Bay E9th chord chart. It is like the road map for the E9th neck. Bar position, pedals and lever to use and strings to play.
Pick out a song, Example G chord, G, C, D, (A) Em, Am, Bm.
Then go to E9th neck find each chord, Using pedals, knee levers to make chords.
The chord makes a great reference page to refer to for finding Major, Minor, 7th, Dimish, and Augmented chords.

Find an on line or personal teacher to help you build knowledge on playing steel.
Good Luck on your steel guitar journey.

[Phillip Leggett]

This is great advice and thank you everyone who is contributed to this!

[Pat Dixon]

I am afraid, our heroes' journey, with that I mean that of the Buddy Emmons' and Co. Generation, will in most cases be very different that the generations from the 80's on up.
Most of the ol' cats started out non-pedal, then moved to pedals on a "Swing"-tuning (C6th, E13th, A6th) and only later moved to E9th.

Most of today's players have started on pedals and the latest generations on E9th mainly... some of them trying out C6th only years into playing or learning E9th.

I have written on here many, many times, that we shouldn't forget that it IS a STEEL guitar... meaning the bar CAN move and make music.

Organization!:
- Learn to locate several inversions up and down the neck, covering the octave with different pedal/lever combinations and string groupings.

- Once you got that as a map burned into your minds so that you "see" the next version of that chord on the left and the right of where your bar may be, ask yourself "Where Is IV?"... meaning "where is the closest position of the next chord a 4th up? That is like, when you play C, you should "see" F the closest left and right of your C position. C, in this example could be I and you going to IV. C could also be V and you going "home" to one. And once you see that next position, you should immediately "see" it's inversions to the left and right of where you just landed... and on and on.
Western Music tends to move in 4ths. With "Western" I don't mean exclusively "Country and Western", but pretty much anything musical originating West of the Middle East.

- There is a LOT of FREE musical information on the Net. Use it... and just like our heroes of the past did, don't limit yourself to "Steel Guitar" related videos!
- It is said that one should "learn" solos and pieces. I must say, I feel one should not dig into firmly into learning as solo exactly like our heroes, but one should "PLAY"-around with ideas, riffs, phrases and lines and ANALYZE and UNDERSTAND them, what it is that is being played and to what chord-position they "attach", so that we can use ideas, simplified or as played or even made more complicated when ever possible.

- Technique is important! And at the beginning, newcomers would be well advised to follow directions from well formed instrumentalists. But once you are "functioning", also learn to let loose of orthodoxies. Me still read on here about palm, or pick-blocking. It must not forcibly be "this of that", as long as it is not sloppiness, it can be a little of both.
- I've also suggested many times what I have been told by my mentor, Maurice Anderson: Watch your posture! First it affects health, and well being, besides that, sloppy posture is not furthersome to good playing in my opinion.

- Resist the urge to become a "machinist". Few of us are, and some have made the instrument better. But in general, every instrument is a "machine". Every instrument is not exactly or totally "orthopedically" constructed. At first it IS awkward and un-comfortable. The picks the bar, the pedal and levers... it's all metal and not very organic. But your guitar is probably way more advanced, less difficult to actuate it's changes and in general more precise than the instruments our heroes have played and laid down incredible musical pieces which still perdure. You don't need special pedals, pads, a pair of shoes which becomes the only one you can play that thing with. Just snuff it up, learn, analyze, correct yourself and make your stand. You don't need to become the next Buddy Emmons or whom ever you admire the most. Become yourself. Music is all about self-expression.

Courses:
- Paul Franklin's online course may seem expensive, but it is well worth every cent of it. Yet, it's quickly fairly advanced. There is NO course as in depth as PF's!
- Some of Jeff Newman's material can still be found used in the Buy Sell section of this forum and e-bay. Get the VIDEOS. Yes, musically it's dated, but his approach to teaching was one of the best from the bottom up.
- IF you are on E9th and IF you can find a copy, get Maurice Anderson's "The Missing Link". This course is TOTALLY different to anything else published and sets you up to understand the E9th neck up and down and gets you playing you own stuff and helps you find where to look on your guitar's neck for music you hear and want to explore.
- Listen to OTHER instruments. It's MUSIC! Yes, every instrument hast it's "thing" and also it's limitations. You can't play like a piano, but one can learn an awful lot from guitar, piano, sax and other instruments' players.

Experiment! IF you find something that sound awesome and don't know what or why it is, trust your ears and ask yourself "Does it sound good?". Trust me, one day, sooner than later, you'll acquire the knowledge and realize it was true and good.

"THEORY":
IF one really good thing came out of all the Internet stuff we are flooded with, it could be the recognition that there NO ONE Music "Theory".
We have after all come to realize that Theory is just that... it's not LAW and it's never singular.
It's TheoriES, and any good theory is usually not much more than a hopefully WELL explained opinion of view point.
The internet and tutorial videos really have shown that even great musicians which do "know" or "understand" what they are doing and why, often have surprisingly different ways to "look" at music or explain it.
Use the theories which SIMPLIFY things so you can a) understand and b) apply them MUSICALLY without needing a scientific calculator. Some of these theories will become replaced as you compound knowledge and understanding... you might actually come up with your own theories.

Finally: ENJOY. Don't dwell on exercise routines beyond understanding or acquiring a particular technique.
Don't play things you don't like. These days "nazi" teaching disciplines are over.
BUT, don't forget that what we've heard our heroes play on hit records and at conventions, usually represents the pinnacle of their prowesses at the time when they played it... and that while yes, they may have been blessed with talents only few have, they've practiced, practiced and practiced relentlessly for days and nights for months and even years.
It seems to me somewhat difficult to imagine that we can seriously set out to learn not just a new instrument but often MUSIC as such from scratch by trying to copy the professional work of bonafide artists right from the get go and expect success instead of the looming train wreck and frustrations.

With that, I don't mean to suggest to learn from people who can't play or are just half a month ahead of us... but let's go at it with at least music we feel we can memorize, sing or at least hum.

I could go on and on... but this is yet again a post that is way too long.

... J-D.

What a well written post!

[Donny Hinson]

J.D. Sauser and Bill McCloskey gave excellent advice, and there's only a few things that haven't been touched on.

1.) Don't get hooked on the stylings of only one or two famous players, at least not in the first few years. I know several players that got locked into the sound and style of just one player, like Jerry Garcia, Ralph Mooney, or Pete Kleinow, and they never became proficient at anything else. Yes, these guys were all great in their own way, but when you start out, you need to steal from everybody! The idea is to become a well-rounded player that can fit into more than one style or genre, so don't just play one kind of music; learn to play along with rock, country, blues, and pop standards because each will give you a different insight and new challenges.

2.) Resist the temptation to keep making changes in your setup. Many players bounce around changing things every week, but you will never learn what is right in front of you if it's not there for a good amount of time. Most of the really famous players played for years on fairly standard and uncomplicated setup, so they learned to get new and different sounds without having to add more pedals and levers to do it.

3.) Go out and see other players, meet them and talk to them! Get together with them and let them play your guitar, ask if you can play theirs, and always invite suggestions and criticism. You need both positive and negative feedback on what you're doing, and that's something you can't get that with courses or online videos. Go to a steel show if you can; you'll learn tons by watching and listening to to a bunch of other players and how they play the same song. And, you'll be able to ask questions and get answers and opinions immediately. This will also help your interpersonal skills, as you will run intyo ALL KINDS of people. Remember - they ALL have something to offer!

4.) Lastly, try not to be a "gear head". Get a good guitar, a good amp, and maybe one or two pedals....and leave it at that! I know tons of players who have guitars, amps, and EFX out the ying-yang. And when you hear them play, it's obvious they value "sounds" over playing skills and ability. You see, a really good musician doesn't need gizmos and botique stuff to impress people. They can use just about anything and still "knock your hat in the creek"! Personally, I don't care what kind of gear a player has. The only things that impress me are skill and versatility, and you can't "buy" them!

Good luck on your journey; I wish you the best!

[J D Sauser]

....
I could go on and on... but this is yet again a post that is way too long.

... J-D.

What a well written post!

Thank you Pat, very kind of you to say that.... J-D.