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Author
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Topic: Jazz theorists - please read this post!!
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Jeff Lampert
Member From: queens, new york city
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posted 20 August 2002 09:32 PM
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Here is a project for one you of you guys...maybe there is room out there for a book that addresses jazz theory issues from the unique perspective of a steel guitarist
Oh yeah. That'll be a real money-maker. |
William Steward
Member From: Grand Cayman, Cayman Islands
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posted 21 August 2002 05:06 AM
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OK, it was a dumb idea. I know the fascination for this instrument for most players is it's huge financial potential. |
Jeff Lampert
Member From: queens, new york city
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posted 21 August 2002 07:44 AM
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OK, it was a dumb idea
Actually, William, it's a GREAT idea. Unfortunately, great ideas have to be tempered with a dose of reality most of the time. The work that would be required to round up a number of great C6 players, interview them, listen to loads of records, analyze the data, add the ideas of our own Forum members, categorize and organize it, edit, provide a lot of tab musical examples, etc. etc. could easily produce a volume of minimally 100 pages, and maybe 200 pages, take 1.5 - 2 years. And then at $29.95, how many people will even buy it. I have MANY times lamented the fact, on the Forum, and privately to a few friends, that there is no book on how to APPLY jazz theory to steel guitar. When you go to Barnes and Noble, there are books on jazz theory for 6- string guitar, jazz theory for piano, etc. But where's ours? There is no way for a jazz player who wants to play steel to find out how to do it! So it's sort of a Catch-22. Without the dissemination of information (books, classes, professional instruction, other players), we can't develop many jazz players on steel (especially at early ages, when it matters the most), and if you can't develop players, then you won't have enough innovation and instruction to give to newcomers, who will probably give up quickly. Anyway, that's my take. At least there are a few threads on this Forum to help spread some ideas. |
William Steward
Member From: Grand Cayman, Cayman Islands
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posted 21 August 2002 10:40 AM
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Jeff---I think it is clear that such a pedal steel jazz study would not be a runaway best-seller. You might be surprised to find the number of people out here that would pay $100 or more for a cerlox bound set of photocopies if they were worth studying. If it is really brilliant you might even get a pedal or knee lever named after you. I suspect a few of you guys have done most of the homework already. Sam pointed to the largely aural tradition of jazz learning which is still important and no book or course will replace that completely. I keep learning on the bandstand from my clams as well as happy accidents. Anyway it is good to take some of these ideas back to the guitar and piano to see what they mean as music. The online theory lessons are appreciated - don't go changin'. |
Jim Smith
Member From: Plano, TX, USA
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posted 21 August 2002 10:53 AM
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there is no book on how to APPLY jazz theory to steel guitar.
Years ago I bought an Arnie Berle jazz book and Harry Guffee's companion book with all the exercises transposed to pedal steel. I'll have to look up the name when I get home though. It's probably out of print by now. |
Jeff Lampert
Member From: queens, new york city
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posted 21 August 2002 11:27 AM
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it is good to take some of these ideas back to the guitar and piano to see what they mean as music
I tend to take ideas I hear from guitar and piano, and bring them to the steel. In fact, I feel that the musical dynamics of jazz piano are what we should attempt to clone on the steel. This is nearly impossible to do, but it is a standard to strive for. Jazz piano is the standard IMO. |
Dave Birkett
Member From: Oxnard, CA, USA
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posted 21 August 2002 12:07 PM
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Jeff, I see your point but can't fully agree with you as regards the piano. IMHO, the harmonic structure of jazz from the late 30s on is only part of the nature (to use an Aristotelian term) of jazz. The trait that has helped define jazz since its inception has been phrasing. This may be a bit off the wall, but when I listen to Jimmy Day's phrasing on "Steel and Strings," I hear how Johnny Hodges would have played these country standards. I think that, if he and the Duke would have heard this recording, they would have said: "Man! This cat's got the spirit!" |
Jeff Lampert
Member From: queens, new york city
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posted 21 August 2002 12:36 PM
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The trait that has helped define jazz since its inception has been phrasing
I was really only referring to the musical dynamics with respect to the choices or harmony. Phrasing is not something limited by the capabilities on an instrument, whereas harmony is. |
Jim Smith
Member From: Plano, TX, USA
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posted 21 August 2002 06:43 PM
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The books I have are Arnie Berle's "Complete Handbook For Jazz Improvisation" published by Amsco Music Publishing Company in 1972, ISBN 0-8256-2805-9. Harry Guffee's book is called "Jazz Improvisation Workbook for C6 Steel Guitar" and consists of Supplementary Tablature Diagrams for Arnie's book, but there is no publishing company or ISBN number listed in it.Sad to say, I've had both books for all these years and haven't sat down with them yet.  I think it's time to start!  |
William Steward
Member From: Grand Cayman, Cayman Islands
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posted 22 August 2002 05:47 AM
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Jim..I see that the Arnie Berle book is still in print - I may check that out. I am guessing the Guffee companion for C6 was never formally published but a good idea to make a steel guitar companion to a standard jazz text. No point in repeating all the basic theory. As Jeff pointed out, Harry Guffee was not destined to become rich from his steel guitar companion...but it appears his singing math book for kids is a big success. |
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