This is the first time it's been posted on the internet for C6 non pedal 6 stringer, based on the original Open E Leon McAuliffe/Bob Wills version. I looked all over the net trying to find a C6 version when I began on steel and never found anything. The chords pretty much line up with the song. I hope you guys like this version, how would y'all play it differently? Don't forget to put your own slides in there between the notes when it feels right, I couldn't figure out how to tab that.

[This message was edited by Jesse Pearson on 08 January 2004 at 12:09 AM.]

You guys (Roy T., Andy V. , etc) who take the time to work out these tunes and set them out for all to enjoy/learn ... are great.

Bar lines and dots underneath the tab indicating the beat is also very useful for players who don't have the audio clip.

I played steel with Pee Wee King longer than any other two steel players combined. Pee Wee recorded Steel Guitar Rag three times for certain, and four times I think -- and I never played steel on any of the recordings. On our "Swing West" album, the great Bobby Koefer played steel and I played the harmony part with him on lead guitar. (Incidentally, Bobby wrote most of the arrangements on that album.) Don Davis played steel on one recording before I joined the band, and (I think) Clel Summey played on the first one Pee Wee recorded. I am scheduled to record a steel instrumental album in March, and -- just to get even -- I plan to include Steel Guitar Rag, even though to many people it is pretty much worn out by now. To me it's a classic, and should be kept alive. I just wish I could play it like Joaquin and Bobby did.

I'm not keeping nothing simple, this is it note for note. However, the B section could use a better harmony under the lead line. Any ideas? I think I'll re-voice the B section in more Western Swing voicings suited for C6, same lead line as Leon.

[This message was edited by Jesse Pearson on 08 January 2004 at 06:26 PM.]

quote:

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I was wondering how many of you own the original version of "Steel Guitar Rag" by Leon/Bob Wills? Steel Guitar Rag is kinda in the same ballpark as Billy Butlers "Honky Tonk", in that knowing how to play it note for note used to be a thing of honor with guitar players, not to mention a right of passage

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quote:

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Yea, I don't know how to tab out the slides that connect the notes to each other

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from guitar.about.com
"Generally, a / symbol is used to notate an ascending slide, while a \ symbol is used to notate a descending slide. So, 7/9\7 indicates sliding from the seventh fret, up to the ninth fret, and back to the seventh fret. If no number precedes the slide symbol, this indicates sliding from an indiscriminate fret."

Would that work?

like if you were sliding from 5th fret to 7th

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-5/7--
-5/7--
-5/7--
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The exception is of course Jerry Byrd. He discoverd a way to do precisely this; using C6. It is a very difficult thing to learn; but once learned, it sounds almost identical to one playing it on and open E tuning. Tom Brumley was sooo interested in this after he was shown the lick by Wayne Tanner of San Antonio, he spent the time to work it all out and does indeed play SGR on C6 using a 7 string Rickenbacher bakelite.

He also has played it at the ISGC several times using this guitar. You can hear Tom do this on his latest CD.

But to just walk up the strings at the same fret to get those first 4 notes just does not sound as awesome IMO as it does on and open E tuning (save the way JB and TB does it).

What I do think is a real challenge, is the harmony notes under the lead line on the B section. I crashed my computer trying to post the audio samples and just now reloaded everything. I just made a final change to the B section on the harmony and it flows pretty darn Texas stlye now I must say. I'm thinking there were a thousand guys playing this song on C6 once that tuning gained alot of popularity. Once I approached the B section in a western swing/no slant style, it fell together pretty easy. The voicings I'm using on the B section are the 2 voicings that are used the most on Sol Hoppii's C#m7 tuning, on the upper 4 strings, but played on C6.

How do the rest of you guys who can play this song on C6, voice the B section harmony notes under the lead line???

This was a great lesson in making me think about harmonizing the lead lines in a way that sounded good and was practicle to play. Hopefully I can get Leons sample posted, along with my own sample of me playing steel, of what I tabbed out. This song is great for applying soloing concepts to.

[This message was edited by Jesse Pearson on 10 January 2004 at 01:09 AM.]

Since I don't know how to do tab on this forum, the best I can do is as follows:

When SGR is played in an E major tuning, it is usually done using several open strings. So the beginning is

"Da Da dal ta Tu--eee"

The hammer-on is on the B string and is represented above as the "dal ta" (or B/C#). The "staccato" notes are the lightning "quick" pick and muted Da Da and ta.

Because these are done on the open B and E strings, the hammer-on and very fast muting (staccato affect) of them is what can make or break (IMO) this incredible tune.

Since there is no open B string on C6 (on a lap steel), this opening and, oft repeated "staccato" phrase is usually done, by walking up the strings at the same fret, since the notes are all there. However no-hammer on is possible here. Also, you lose the "open string" ring as well. So to my ears it dulls that incredible lick so to speak. Of course this is just how I feel about it.

While Jerry did not do it, there is another place where a hammer-on using first the E string, THEN the B string comes into play as the notes are descending. IE:

After The above "Tu---eee", many players, descend the notes DA TA DA DU-----da ta da du as they hammer-on the E/F#/E and the B/C#/B; as represented as DA TA DA and da ta da respectively; then they descend on down finishing with the G# and E to end that phrase.

Again, IF this is done in a C6 tuning, there is NO open B string so the hammer on ("da ta da") can't be done. Buddy Emmons goes one step further with the hammer-on here. He does a double hammer-on on BOTH the E and B strings; like one does when playing Remington Ride. I have seen others do this; and to me the song should have been written this way, since it embellishes the song soooo much IMO.

I sincerely mean NO dissrespect to Leon or anyone else. It is just that I feel the tune sounds better when played using an open E tuning rather than a "6th" based tuning.

Now I do like to hear it done where one starts using an open E tuning; then goes to another neck and does it on a 6th based tuning; then ending it using the E tuning using the hammer-ons and staccato affect. But if there is all 6th playing, I don't care for it, if the strings are just walked up at the same fret.

May Jesus bless you all,

carl

[This message was edited by C Dixon on 10 January 2004 at 08:27 AM.]

Edited because I just noticed that this discussion is supposed to be about playing SGR on "non-pedal" guitars....so belay what I said above!

[This message was edited by Gene Jones on 10 January 2004 at 08:23 AM.]

Hopefully, this is the final version.

[This message was edited by Jesse Pearson on 11 January 2004 at 08:19 PM.]