Buddy emmons pedal steel guitar speed licks

#Buddy emmons pedal steel guitar speed licks how to#

I have often wondered WHY most standard guitar players seem to relatively quickly become more musically effective than steel guitar aficionados. but then, it becomes an advantage because there is much more being used with less strings. It seems limited by the limited amount of fingers one has on the left hand and how much contortion one can possibly produce effectively.

I must admit I have been guilty of overlooking this for years until that I now picked up standard guitar intensively and had to realize that 'they' more often than not play around 2,4 note chords that are not always covering all 6 stings. Any on half step change (pedal/lever pull/release) WILL spell new chordS inside the big picutre. and then, we could even play with the idea of looking at notes which are NOT present as a root (given that the bass will play the root) and see what more cords can come up inside that 'big' chord we tend to see exclusively. Yet, ANY of the usually 4 or 5 notes repeated across all stings can be looked at as a root to 'a' chord. In PSG (ESPECIALLY since C6th got pedals) 'we' look at every Pedal/Lever change and it's result across ALL 10 or 12 strings. which is the looking at only 3 notes at a time. Really, it's the concept of the PDEAL Steel Guitar taken from a different 'view angle'.

Pat: 'Chromatic intermediates intertwine across the entire fretboard!' Hey, MAY BE! ).Д¬heck out Part Martino's autobiography, 'Here and Now!'-beside the fascinating story of recovering from an aneurism and relearning to play the guitar, in the back is a walk thru of his approach to the guitar with a very intersting way of thinking of the fretboard and how simple augmented and diminished forms present other chords by changing just one note chromatically. Matter of tastes (others might prefer to suspect that I am just to dumb to 'understand' his approach. he 'speaks' another language than the one which inspires me. While I can hear that he is an Jazz extraordinary his approach to Jazz does not trigger much in me. but good luck with taking that alone to a jam! Martino.Д«ut yes, the BE.com tab at least shows HOW he did it. Finally, BE did not learn it from tab, I am 99.99% certain and I have a suspicion I could be on the safe side to bet that neither did Mr. THAT's why, given that BE credits Pat Martino for the IDEA, I was hoping to find an example or two of Pat's rendition, because I wanted to pick on him like BE did in order to get a better idea of what was on BE's mind.

#Buddy emmons pedal steel guitar speed licks how to#

Listening to examples, once one has understood the basic concept and one or two way how to play it, would seem more fruitful. or better, what BE's musical thinking was. Tab of HOW it was done will thus give little information on WHERE and WHY. Being essentially a chromatic (half tone) run it can technically fit of ANYthing as well as being dissonant over EVERYthing. The 'lick' or 'phrase' if you so may want to call it is applied 'here and there' over a variety of chords and progression. Why not just get the tab and audio from the master's own website? Those who produce Tablature did never use it. The uses of Tablature is addictive and has been linked to reduced musical fertility. Good to have talked to you again after so many years I think it's been. My 'standard' guitars incidentally all have 'moustaches' (Selmer/Maccaferri/Favino) I have searched myself tired on youtube to find and example Pat Martino play his version of the 'lick', but to no avail. I looked up the pages you suggested, but I still don't read and doubt I ever will. etc (without doubling up on the note when switching octave.

etcД«E, being more creatively 'free' naturally interrupted the sequence and found new starting points again and again and going:Д®, Eb-D, C#-C, B-Bb. The lick is played over a V7 chord, so for this version of Boot Heel Drag, the lick goes over E7:Д®-12-11-10-9-8-7-6-5 etc.Д®-12-11-10-9-8-7-6-5-Д®vidently 'just' a chromatic 'run down' masked by the fact that octaves are used alternately:Д®, E-Eb, Eb-D, D-C#, C#-C, C-B, B-Bb. Here's a little Tommy Morrell lick that you can hear him play here at 3:01: Here is an example of Bruce Hornsby using the concept very effectively with Thelonious Monk's 'Straight, No Chaser': Buddy's use of it was more show than anything particularly musical. The most effective use of the concept of octave displacement comes in the form of taking melodies and rearranging certain notes to be in a different octave. He's 7 years old-great moustache for his age! Interestingly, with all the Steel Guitar talent in BE's generation and what immediately followed, I never heard any other steel great use it the concept. in order to get an idea of what Emmons originally heard. I was hoping to see/hear Pat Marino play, apply this concept in his playing.

You didn't have that mustache a few years ago!