Chord Theory and The Steel Guitar

Roy Ayres · Post by **Roy Ayres** » 26 Oct 2002 4:46 am

I've been reading and enjoying the responses to my thread on "The Evolution of Tunings . . ." and a thought just stuck me regarding the relationship between chord theory and the steel guitar.

I first started studying chord theory in about 1947 or so, using a book by George Gibbs titled "Chord Construction and Analysis." It was there that I began to see the beautiful way in which notes could be selectively assembled into the almost infinite myriad of chords and inversions. The book was not designed for steel, piano, or any other instrument; it was just pure chord theory.

Reading through the various posts on the aforementioned thread and many others, I suddenly realized that THERE IS PROBABLY NO OTHER INSTRUMENT BETTER FOR TEACHING ONE CHORD CONSTRUCTION AND ANALYSIS THAN THE PEDAL STEEL. It is obvious from what I read on the forum that steel players one-fourth my age know and understand chord theory better than anyone I knew in the "good old days" -- including me.

My net conclusion, therefore, is as follows:

In today's world, I don't believe it is possible to separate the pedal steel guitarist from an intimate relationship with and knowledge of chord theory, and I doubt if there is any other instrument on which you abosutely MUST understand chord theory to survive as a professional.

Anyone disagree?

Jeff Lampert · Post by **Jeff Lampert** » 26 Oct 2002 6:05 am

Hi Roy,
Naturally I gotta jump in here. When it gets to theory, I can't stay away.

THERE IS PROBABLY NO OTHER INSTRUMENT BETTER FOR TEACHING ONE CHORD CONSTRUCTION AND ANALYSIS THAN THE PEDAL STEEL.

Piano is the best, by far. But the C6 tuning may well be in second place, even ahead of 6-string guitar, because chord constructions can reach as high as 7-note chords, and 6 -string guitarists are usually limited to chords with 4 or at most (rarely)5 different notes. Also, you have true bass resonance in C6, same as piano. This is vital for developing theoretical concepts, and 6-string doesn't have enough of it. But piano is far and the way the best instrument for this purpose.

I also think that the discussions are broader than just "chord theory", and generally can be considered HARMONY theory, which is about any kind of relationship among musical notes. Now we're talking chords, scales, intervals, cadences (tension/resolution), the juxtaposition of melody, bass, and harmony, etc. etc. And I believe a real music theory scholar would take it quite a lot further than even that.

Al Marcus · Post by **Al Marcus** » 26 Oct 2002 7:46 am

Jeff-Very well said! I'll have to agree with that.

Piano and Organ, then Pedal Steel Guitar, on a 6th tuning....al

Roy Ayres · Post by **Roy Ayres** » 26 Oct 2002 7:47 am

Jeff:

Good observations. You make some very valid points -- but let me explain my rationale for putting pedal steel so high on my list.

First, I suspect that most pianists work their way up the knowledge ladder under the wings of teachers, and chord construction is a built-in part of their music education. Conversely, most steel guitarists start by acquiring a guitar of some kind -- often a six-string lap steel or some other less expensive starter. There is usually no one around to get them started properly in learning the relationships between individual notes (chords, harmonies, etc.) So, in many cases, they are forced to learn it on their own -- more often than not by experimentation. They begin to learn that they can add this note or that note to a chord to get this or that more complex chord. Their experimentation with tunings and pedal set-ups leads to discoveries on their own: to my way of thinking the most effective way of learning.

No intent to play the semantics game with you, but let me say that in my statement "There is probably no other instrument better for teaching . . ." I'm saying that it is THE INSTRUMENT that is doing the teaching (or forcing the learning)by presenting the learner with limitations that can be overcome to some degree through experimentation with tunings and pedals. I agree with you that there are other instruments better for LEARNING chord theory -- where the instrument is a device for learning.

Thanks for your thoughts on this subject.

How about some of you other steelers; what are your thoughts?

Roy

Paul Graupp · Post by **Paul Graupp** » 26 Oct 2002 7:56 am

Roy: Somewhere in all the numerous magazines and articles I have read throughout my lifetime, you rang a bell about something I read once about Les Paul and his teaching methods. I have no idea where I read it but as far as I can recall, he said the best way to teach a regular guitarist what chords sounded like and how they are structured was to start the student on steel guitar first.

When the student had mastered the voicings and inversions, then he was able to go onto regular guitar structures. I wish I had more detail on this but time has taken it's toll.....Sorry !!

Regards, Paul

Roy Ayres · Post by **Roy Ayres** » 26 Oct 2002 8:13 am

Thanks Al, Jeff and Paul. I started this thread, as others I have started, to elicit thoughts, experiences and opinions of others. To me, it's this kind of discussion that makes this forum so valuable. There is so much knowledge and wisdom out there related to my beloved instrument that I want to hear everything and every opinion you guys and gals can take the time to write. I learn a little more with every post. Keep 'em coming.

Roy

Dr. Hugh Jeffreys · Post by **Dr. Hugh Jeffreys** » 26 Oct 2002 8:35 am

I started out tuning and re-tuning my steel to see what I might come up with; one of our biggest (if not the largest) problems is the inability to listen with 100% accuracy. I have an organ in my ham radio/music room, but seldom use it anymore unles there's a chord progression that's bugging me. Why? With the advent of MIDI devices, one can construct harmonies big enough for a concert orchestra. When I was working on my M.S. in Jazz Composition, I wrote a number of arrangements for the jazz orchestra and for the studio orchestra each month which were performed and recorded at the Univ. studio. Once the charts were transposed and copied for each instrument, there was no "going back." Today, however, if I'm concerned about a certain sound/progression, etc., I simply put it on MIDI with the proper instrumentation and playit back until it comes out the way I want. I would have been a better musician all the way around long time ago if I had had such opportunity years ago. But with the introduction of pedals, I was able to experiment and work with progressions. By the way - the best composers/arrangers USE NO INSTRUMENT while writing. I would like to have a triple neck with my same 14 pedal arrangement. -- my thoughts for the moment....Hugh

Roy Ayres · Post by **Roy Ayres** » 26 Oct 2002 8:57 am

Hugh:

Your remarks "flashed me back" to a statement I made in an earlier post on another thread:

"I doubt very seriously if it will end where it is now. Someone someday will find a way to further improve the instrument and further remove any remaining limitations -- perhaps through digital technology."

I can imagine a pedal steel where the pitches of various strings are raised and lowered through digital manipulation of the analog signals produced in the pickup. This could lead to such things as removing the two or three half-tone limitations on raising and lowering. It might allow, as an example, large numbers of pedals or give the ability to switch from one basic tuning to another -- or the ability to flip a switch or press a button to pull up another file of pedal setups. And, as far fetched as this may sound, I don't believe that even these advances would be the end of it.

Roy

Edited to add this: "It's still gotta sound like a real steel and not like a synthesized steel." Roy[This message was edited by Roy Ayres on 26 October 2002 at 10:07 AM.]

Dr. Hugh Jeffreys · Post by **Dr. Hugh Jeffreys** » 26 Oct 2002 12:19 pm

Roy - your engineering brain is at work! I was talking to a friend several months ago about something like that. I have written to IVL Technologies and Roland/Boss as well, but--not enough demand to encourge the research. Great thoughts though Roy--keep those wheels turning!.....HUGH

Roy Ayres · Post by **Roy Ayres** » 26 Oct 2002 2:16 pm

Hugh:

Tell your friends at IVL and Roland, "If you build it, they will come."

Roy

Dr. Hugh Jeffreys · Post by **Dr. Hugh Jeffreys** » 26 Oct 2002 6:38 pm

Roy - that would probably be like urinating in the wind. If I had time to learn electronics, I would build it, but my ham radio test did'nt cover all that. (When I see Starke (naked) Florida, I can't help but think of Spanish for Boca Raton: "mouth of the rat." -- Some name for a pretty city--uh? Just thought I'd throw that in. Hugh