Trying to hook up the Horse while riding in the Cart

[Bo Legg]

I’ve often wondered why you would spend months in classes with an Icon of steel guitar dividing the time between learning music and learning how to play PSG.
I would think it obviously much more advantageous to first learn music and then spend the whole time with the great player learning how to play PSG.

[Al Evans]

I’ve often wondered why you would spend months in classes with an Icon of steel guitar dividing the time between learning music and learning how to play PSG.
I would think it obviously much more advantageous to first learn music and then spend the whole time with the great player learning how to play PSG.

But you've got to learn to play something, or you can't learn much about music. What would you recommend?

(I started with classical piano when I was five, then guitar and related instruments, and only now, pedal steel. I'm finding pedal steel qualitatively different from the other instruments I play.)

--Al Evans

[Donny Hinson]

Bo, the problem with your premise is that "learning music" covers a lot of territory. Who decides how much you have to know? When does one graduate from learning to actually playing the darn thing? Then there is the question of exactly how much of that knowledge is required for each style of music, and each different instrument, tuning, setup, etc. These are big issues, and they're especially complicated by the fact that there is so little standardization where our instrument is concerned...

No other instrument has that problem!

Our biggest asset, having an almost infinitely customizable instrument, becomes our biggest stumbling block when we're starting out. This pro has this setup, and says play this way. Another has a different setup, and says that you should play this way, instead.

And besides, all some players really want to do is to have fun, learn to make purty sounds and mash A&B, and maybe play Bud's Bounce and Steel Guitar Rag.

[Bo Legg]

My point is that a great player teaching in group learning would more than likely not be teaching a class for beginners.
Accordingly I would assume it would be expected a student have a fairly descent understanding of music and the function of their PSG so as not slow down the process wasting other students expensive and valuable time with the teacher rehashing things we already know.
Teach me to drive the truck! I should already know what I want to haul in it!

[Donny Hinson]

My point is that a great player teaching in group learning would more than likely not be teaching a class for beginners.

That can be a problem in any group-learning situation. I attended a couple of Jeff Newman's seminars, and there were all ranks of players there. I'm sure some players were overwhelmed, and some considered most of it just a rehashing of things they were already doing. But I think everyone there learned something.

I guess that's why I recommend that every beginner get a few one-on-one lessons when they're starting out. That way, a player can be evaluated as to where he or she should concentrate their efforts. It does little good to try to teach actual playing when the pupil does not hear chord changes or understand timing. You have to crawl before you walk.

[Erv Niehaus]

I started taking "Hawaiian" guitar lessons at an early age.
Besides teaching me the guitar, they also taught me "music".
I am eternally grateful for having been taught both.
Erv

[Bo Legg]

Sometimes just asking a question in class can slow things down and get you in trouble with the teacher.

My first lesson was with Doug Jernigan at a Colorado Springs, CO. Steel convention around 1979 I believe.
Anyway he was teaching blocking with the song Cotton Eye Joe.

I was sincerely hoping it was but didn't realize how negative it sounded when I ask him if it was the same Cotton eye joe I had in one of his old books. A look and a "no" is what I got deservedly.

But then I followed that question with this Gem "Is this way of blocking better than pick blocking?" I think by then he had figured out what he was dealing and just ignored me.

But I did show up prepared with a great deal of knowledge related the Music Theory and knew the mechanical function of the D10 MSA I showed up with(cords etc.), earphone amp, earphones, cassette recorder, notepad/pencil and some Brut deodorant in case I got sweaty.

[Joachim Kettner]

My sense of intervals comes from playing along with an acoustic guitar to songs by the Beatles etc. So when I wanted to play "Lady Madonna" from the Area Code 615 album, it worked.

[Jeremy Threlfall]

some Brut deodorant in case I got sweaty.

Brut is my favourite. It worked a charm on the ladies in 1975 and it works on them now. Problem is, its the same ladies!

[Bobby Nelson]

I think that is one of the reasons pedal steel didn't take with me 40 years ago. I don't have to learn the "music" side of things now, as I have a pretty extensive knowledge of how and why music works, with a bunch of stage experience to back it up with. What is going to hinder me at this point is lack of time to practice and old hands and feet haha.

[Fred Treece]

If the “Icon Of Steel Guitar” is teaching a master class on how to play, then your point is made for that side. An unprepared student will not likely understand much of what is being covered, nor have the ability to practically apply the knowledge to his instrument.

I’m in the same boat with Bobby Nelson. I have a ton of theory and experience on guitar, but am a fledgling steeler. It is a frustrating place to be in some ways, but the fun of taking baby steps without falling makes up for it.