Sel Guitar Rag’Page 5 Steel Guitar ʻRagʼ Hi fellow steelers, John McClung here (aka Mr. Twang /...

Steel Guitar ‘Rag’April. 2016

Board of DirectorsTroy Porter-Chairman

Fred Justice-Vice Chairman

Otto Shill-Secretary

Peggy Porter-Treasurer

Ray Harrison-Director

This newsletter is published monthly from P.O. Box 1129,Globe Az., 85502 and presents information for the newsletter of the SWSGA, A 501(c) (3) , non-profit organization.

Editor: Bill Tauson

“Official Publication of the Southwestern Steel Guitar Association”

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2016 Chula Vista JamApril 30th. & May 1st. at the Chula Vista RV park, 460 Sandpiper Way, Chula Vista, Ca. Call 1-800-741-6878 for reservations or contact Peggy Porter, 928-701-1488.

Photos from the SWSGA Spring Jam are available on the Associationʼs website. Click on the camera image to view.

http://www.swsteelguitar.com/2016SpringJam/index.html

Greetings SWSGA Members,

The SWSGA Board met on Wednesday, April 6th to discuss plans for future events and to welcome our newest elected board member. Ray Harrison was elected by you, the members, and the results were announced at the annual Spring Jam. We are happy to have Ray on board. I’m sure he has a lot to offer and will be a great addition to our board. Board member positions are elected or re-elected every year and chosen by the membership vote. The board position titles are chosen within the board. This term, I have been selected as Chairman, Fred Justice-Vice-Chairman, Peggy Porter- Treasurer, Otto Shill-Secretary and Ray Harrison- Board Director.

As you probably know Billy Easton will be relocating to another state and has chosen not to run for the board position this term. We appreciate all Billy has done to help make the SWSGA the greatest steel guitar club west of Dallas. We wish Billy and Meriul the very best in their new endeavors. They will surely be missed.

The spring jam was held at the Hilton Hotel in Mesa on Saturday, April 2nd. and was very much enjoyed by all. There were 14 steel players in all. Frank Carter provided Band-n-Box tracks and the live band portion was performed by Dan Range, on drums, Darrell Bircher and Darcie Bodemuller, on bass, and Gerald Daniels on lead guitar. The Hilton Hotel has been recently remodeled and will be the location of our 2017 Steel Guitar Show. Be sure and attend this one as we are already planning another exciting steel guitar convention.

A big thank you to all SWSGA members and board members for all you do to keep the steel guitar alive and well. Looking forward to seeing many of you at the Chula Vista Jam, the Fall Jam, and especially the 2017 Steel Guitar Show.

Troy Porter

Chairman

Ray HarrisonPhoto by Guy Beaver

http://www.swsteelguitar.com/2016SpringJam/index.htmlhttp://www.swsteelguitar.com/2016SpringJam/index.htmlhttp://www.swsteelguitar.com/2016SpringJam/index.htmlhttp://www.swsteelguitar.com/2016SpringJam/index.htmlhttp://www.swsteelguitar.com/2016SpringJam/index.htmlhttp://www.swsteelguitar.com/2016SpringJam/index.htmlhttp://www.swsteelguitar.com/2016SpringJam/index.htmlhttp://www.swsteelguitar.com/2016SpringJam/index.htmlhttp://www.swsteelguitar.com/2016SpringJam/index.htmlhttp://www.swsteelguitar.com/2016SpringJam/index.html

SWSGA Members,

The Annual Business Meeting along with our annual Spring Jam was held on April 2, 2016, at the Mesa Hilton Hotel, our new venue. Lots of attendees made comments about how they really like the new hotel. We had a very nice turn out for the Spring Jam.

The financials were reported.

2015 Profit was $6,766.50.

The 2015 Show income was $29,463.00 and the expenses were $29,846.16.

IRS 990N tax return has been filed.

The bylaw changes as printed in the January Newsletter were read and explained. Vote held to approve the changes were 28 Yay and 0 Nays. The changes will allow a better time frame to have the Spring Jam and the voting procedures to coincide with the Spring Jam.

REMEMBER THE CHULA VISTA JAM The jam will be April 30th. and May 1st. starting at 8 A.M. at the Chula Vista RV Park, 460 Sandpiper Way, Chula Vista CA., 619-632-4085. Call if you wish to reserve a place for your RV. A great time by all to be had!

Peggy Porter

SWSGA Treasurer

Treasurerʼs message...Steel Guitar ʻRagʼPage 2

http://www.chulavistarv.com/

http://www.chulavistarv.comhttp://www.chulavistarv.com

Steel Guitar ʻRagʼ

Photo Courtesy of Guy Beaver

Election Report An election to fill the vacant seat on the SWSGA Board of Directors previously held by Billy Easton was completed on schedule prior to the quarterly jam and business meeting 02 April, 2016 at the Hilton Pavilion Hotel in Mesa. The results of the election were conveyed to the board and the results were reported at the meeting.The newly formed Board of Directors will now proceed to meet in the near future and and select one board member to fill the office of Chairman of the Board of Directors, replacing Billy. A total of 64 valid votes were cast, amounting to over 30% of the membership of approximately 200 members participating.(Historically, the highest level of participation in years.)The nominee who received the highest number of votes and our new member of the SWSGA Board of Directors is Ray Harrison.Ray was called on the phone by Billy Easton during the meeting and informed. He was congratulated by all attending. We sincerely appreciate the cooperation of our members and for the willingness of those nominated who agreed to serve if elected.We had a well qualified field to choose from, any one of whom would surely do a fine job for the Association. -Rick Ulrich, Jerome Vogel and Dave Beaty Nomination and Election Committee

A Message from your SWSGA Nomination and Election Committee...

2016 SWSGA Spring Jam


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Hi fellow steelers, John McClung here (aka Mr. Twang / Professor Twang) coming toyou from Olympia, WA. For questions about this lesson, or inquiries about privateSkype lessons, write to me at: [email protected], or phone me at310-480-0717. I welcome suggestions for topics for this column!

http://steelguitarlessons.com

There’s more than one way toskin a Paul Franklin intro!

THIS MONTH’S TOPIC WAS SUG -gested by Kjell Olofsson, one of myEuropean Skype students, who askedfor a lesson about playing !lls in Merle Hag -gard’s “Branded Man,” and speci!cally how toplay the great intro by Paul Franklin, Jr., on the

“Bakers!eld” album by Paul and buddy VinceGill. If you don’t already have this CD in yourlibrary, go get it! Classic songs and terri!c steelplaying throughout. Listen to the intro here:http://tinyurl.com/jgqfeyz

When I !rst heard this intro to the song, Iloved its use of notes from very high to verylow, and I presumed it uses the “Franklin”pedal, with all the swooping up and downnotes going on.

But soon a"er sitting down to transcribe theintro, using my trusty so"ware Amazing SlowDowner, I quickly learned something else wasgoing on.#e process of transcribing licks is like

solving a mystery: you try to !nd small factswherever you can, and build up the completepicture (lick) based on those few known facts.But you must be as certain as possible that yourpresump tions are, indeed, correct.

I hope you’ll follow along with me in thisprocess of discovery I had to undertake.Understanding this process will truly help youin your own e$orts to transcribe parts playedby your favorite steel players. It requiresmaking temporary assumptions, thenvalidating them.

Professor Twang’s E9 Grab Bag!

STEP 1: I !rst listen to a phrase at normalspeed a few times trying to get a general idea ofwhat’s going on, what the chords are, the songkey, where things are likely to be found on theneck, and what pedals and levers are involved.

STEP 2: #en I slow it way down and learnhow to sing the part, broken into 2 or 3 note bits.#is helps me get the notes accurately into myhead, and I won’t have to rely on endless audioplayback loops therea"er, I can simply sing thepart and start exploring best ways to play it.

STEP 3: I sometimes analyze a single-note linelike this as scale degree numbers, i.e. Nashvillenumbers, which is o"en a help.

Here is how this 10-note intro goes in mostlydescending numbers (arrows indicate a changein direction):

1–5–b3–2–1–b7–6–↑1–↓4–5STEP 4: I compare what I’ve come up with to

the player’s known copedent, to make sure this ishow the lick could have been played. On the nextpage I’m including Paul’s known E9 copedent asof 1996, I couldn’t !nd any more recent updatesto it, so I had to presume whatever Paul did,these changes were what he had to work with. Ifhis copedent has changed, then many conclu -sions I drew may be erroneous!

I also listen very carefully for pedal moves,slides, and note-blocking details.

On my !rst pass I discovered that the intervalchanges likely didn’t primarily use the Franklinpedal a"er all. #e whole step lowers of strings 4and 5 didn’t match up with any interval changes Iwas hearing in the intro. continued !


But here’s my most telling discovery: those!rst two notes, the 1 and the 5, sustain anddrone throughout the rest of the intro. Allother notes seem to be nicely blocked, sothere’s some very advanced sustaining andmuting going on here!!at meant that unless Paul "rst recorded the

droning strings, then overdubbed the rest of the


intro, I had to "nd some way to play the introthat allowed those initial notes to keep ringing.

Because I can hear a punch-in point betweenthe 2 halves of Paul’s solo later in the song, itlends credence to the hunch that overdubs mayhave been used in the intro as well. Still, I doubtthat. Only Paul would know! I’ll show you fourways I found to play this intro.

#1

continued !

!is method, right in open Root position,may be the easiest way to play the intro.

It depends on your E9 having pedal B andlever G (lowering string 6 a whole step) worktogether as a “tunable split” so that togetherthey lower string 6 from the major 3rd to theminor 3rd that we need. It also needs the PFpedal (could be a slide instead).

Note: the X on string 6 indicates that the

sustaining note there must be muted with eitherhand, because you’re going to have to release theG lever to engage lever D, which for most playersis on the same knee; the resulting note isundesirable.

CONCLUSION: though playable, per Paul’scopedent, this is likely NOT how he played it, hedoesn’t lower string 6 a whole step, nor does hehave the tunable split necessary. So the answermust lie elsewhere. Onward we search!

A

+C#

+C#

LKL LKV LKR

B

+A

+A

C

+F#+C#

+F#

PF

-A-F#

-A

F

+F

+F

LKV

-E

D -D/C#

-C#

E

-D#

-D#

G +G#+E

+G#

RKL RKRname

position PEDALSPaul Franklin’s E9 copedent

1 5 b3 2 1 b7 6 1 4 5! " " " " " " " " #


!is was actually the "rst position I foundthat seemed to work relatively easily. But when Irealized those "rst 2 notes must drone through -

out the intro, the use of lever E ruined thedrone note on string 4 (see starburst), so thisisn’t likely how Paul played it.


#2

#3

!is is possibly how Paul played the intro, but,and it’s a big but, it would have required thatPaul change his string 7 change from a wholestep to just a half stop. It’s a plausible premise,

but not a probable fact.Nonetheless, if you raise your string 7 just a

half step with your lever G, this is a great way toplay the “Branded Man” intro.

continued !

1 5 b3 2 1 b7 6 1 4 5

1 5 b3 2 1 b7 6 1 4 5

! " " " " " " " " #

! " " " " " " " " #



!is is most likely how Paul would haveplayed the intro in one non-overdubbed pass.!is solution began with asking myself,

“Where else can I "nd the opening 1 and 5 noteswhere all other notes would also easily lay, andnot have to change frets or mess up my dronenotes?”

I found an answer in an easy-to-overlook spot,strings 1 and 2. String 1 at fret 2 is the root Abnote, and string 2 at fret 2 lowers from the 6th tothe 5th (Eb) by fully engaging lever D to lower awhole step, shown here as D2.

One "nal note: I’m still not quite sure that mytiming notes are accurate. I had a little troubledetermining the actual downbeat of the introphrase, since Paul plays this acapella. He laterplays almost the same thing, but with di#erentlead-in notes, for his solo.

I hope this column has opened your eyes tosome of the considerations that should comeinto play when transcribing parts for the pedalsteel. It’s seldom easy, o$en tricky, and this is aperfect example of that.

It’s also possible that Paul Franklin had somecompletely di#erent way of playing this.

Readers, if you "nd what you think is a validalternate way, jot it down and send me a photo ofyour tab, I’d be very interested in seeing that.

Is it necessary to go through all this e#ort? No,not really. We can generally get something fairlyclose to what we hear, even if not 100% accurate.

(In the case of this intro, if you let the "rst 2notes drone for a bit but then pull back the bar tomute them with your le$ middle "nger for therest of the phrase, it’s far easier to play, is stillclose to the original, and captures the right notes,if not the exact Franklin execution.)

But by carefully using logical deduction andthe limits of the player’s known copedent to nailthe phrase or lick, you will have taught yourself alot about the player’s approach to playing, sharp -ened your listening and playing skills, and havethe satisfaction of solving an intriguing musicalmystery—as well as bragging rights amongstyour circle of steel-playing friends—THIS is howit’s played!

Till next time… play purty!

Professor Twang©John McClung 2016. All Rights Reserved.

#4 1 5 b3 2 1 b7 6 1 4 5! " " " " " " " " #

# In last monthʼs newsletter, we talked about documenting and photographing all your equipment. Also, taking a few minutes to check with your insurance carrier to check your coverage before something happens and you need it. I was talking with some fellow musicians the other day and heard a story of a steel player who played day 1 of a 2 day gig. He left some of his equipment at the venue but fortunately, took his steel home. That night, the venue burned down! His equipment left over night was lost! We talk about the risk of theft but what about fire?

# So youʼre heading out to your gig and youʼve loaded up everything in your vehicle. Now letʼs talk about a few things to consider regarding our vehicles.

# First of all, does your vehicle scream, “look in here, thereʼs music stuff?ʼ Have we put decals or license plate frames on our vehicles? Ever seen some of the cool, “Fender” decals? How about a,”Zildjian” drum cymbal decal? Iʼm thinking that thereʼs a pretty good chance that there may be some guitar or drum equipment in that car. This doesnʼt mean that you shouldnʼt fly your favorite brands. Just know that you may be increasing your risk.

# Having investigated thousands of traffic collisions, there are a few helpful tips and most people donʼt think about. First, how much does that steel guitar case or amplifier weigh? Does that music stand or mic stand have any sharp or pointed edges? Why? Because in the event that your involved in a collision, all that gear can become, “projectiles”. Your seat belt and air bag may protect you, but that 40 lb. amp hitting you in the back of the head may leave a mark! Take a minute and try and secure your equipment! Remember, other people can cause you to be in a collision!

# Hereʼs another issue most people donʼt think about. A lot of people add “after market window tint” to darken their windows in the hopes of making your equipment less visible. Not a bad idea, but letʼs look at the different between “factory tint” and “after market tint”. Factory tint is added to the glass during manufacturing and after market tint is an adhesive material that is added to the inside of your carʼs windows.The reason that this is important is that the auto industry uses safety glass in our vehicles. Safety glass is designed to break into small pieces to lessen your chances of being cut by flying glass during impact. Factory tint will still break into small pieces, however, if you add after market tint, youʼve added an adhesive material that will now work like a large piece of tape and may hold all that small broken, jagged glass together as itʼs moving through your car. Duck!!

# So youʼve arrived at your gig and now you have to unload all that gear into the venue. You may have to make a few trips but now people have seen you taking your gear out of your car. How long does it take to run up to your car, grab a piece of equipment and run, hide it or toss it into a waiting car and drive off. About the time it took you to read that last sentence!

# Iʼve seen some great hand carts altered by steelers. Add a piece of plywood and load all your equipment at one time. That way, youʼve reduced your risk of theft. Itʼs also a little easier on the back.Occasionally, Iʼve had to leave my cases in the car because thereʼs not enough room inside. If I do this, I will leave my cases open. If someone does look inside my car, my hopes are that theyʼre smart enough to know that theyʼre empty and they wonʼt smash my window hoping to score a new guitar.

# Next month, weʼll discuss some things that you can do if your gear is stolen.

# # # # # # # # # # Bill Tauson

How not to lose your gear! ...contʼ ed Steel Guitar ʻRagʼ

Steel Guitar InstructorsTroy Porter In Globe, Az., is available for E-9 instruction at any level. Call Troy at (928) 425-5520.

Daun Suarez is available for beginning and intermediate instruction in the north Tucson/Marana area. Call Daun at (520) 682-6609.

Rich Brennion is available at all levels for E-9 instruction in the Tucson area. Call Rich at (520) 661-5682.

Blackie Taylor at “Blackie Taylor Music”, in Riverside, Ca. is available to teach all tunings, pedal and non-pedal guitar, dobro, reading music, etc. Blackie is located at 5950 Mission Blvd., Riverside, Ca. from noon to 6:30 P.M. (951) 686-4010.

John McClung teaches E-9 lessons in his Olympia, Wa. home studio, or online via “Skype”. Call John at (310) 480-0717 or email him at [email protected]. John also contributes monthly instructional articles in this newsletter. Be sure and check them out!

Margie Mays is available for teaching non-pedal, all tunings, E-9 pedal steel and learning to read sheet music. Call Margie in Mesa, Az., at (480) 807-5443, or email her at, [email protected].

Rick Schmidt is available to teach bass, non-pedal steel, pedal steel guitar, both E-9 and C6 tunings in the North San Diego County area, Prescott Arizona, or online via, “Skype”, specializing in improvisation and harmony. Call Rick at (951) 442-9621, or email him at, [email protected].

Fred Justice teaches steel guitar in the Phoenix/Mesa, Az. area. Call Fred at (480) 986-2599 or (480) 235-8797. or email him at. [email protected].

Chuck Lettes teaches pedal steel guitar, E-9 and C6, and lap steel lessons in the Denver, Co. area. Contact Chuck at (720) 545-4803, email him at, [email protected] or visit his website at, chucklettes.com.

Come Join Our Family.....Justice Steel Guitars(480) 986-2599(480) 235-8797

Email: [email protected] our website at: www.justicesteelguitars.com

mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]://www.justicesteelguitars.comhttp://www.justicesteelguitars.com

NEW

TCA-500B Head Unit12.8 pounds + EFX unitin 1U rack (Can be used

with matching Mini-12 ComboExternal Speaker Enclosure)

High quality road cases available by special orderNEW NEWNEW

NEWNEW

TCA-500B Full Size Combo34.2 pounds

w/15" Telonics NEO Speaker(Shown with TC G Major-2 EFX Unitand Handy-Patch MIDI controller)

TCA-500B Mini-12 Combo28.6 pounds

w/12" Telonics NEO Speaker(Does not have the 1U EFX Rack)

33.6 poundsw/15" Telonics NEO Speaker

(Does not have the 1U EFX Rack)

TCA-500B Mini-15 Combo

• Lightweight, from 22 - 35 pounds + EQ unit (when so equipped).• All configurations equipped with Telonics 12" or 15" Speaker.• High output level available on demand, 500 watt power amp section.• Studio Pre-EQ parallel effects loop with adjustable SEND and RETURN levels to accommodate any EFX unit(s) (rear panel mounted).• Special “Blend” EQ control for personalizing your tone or adjusting for venue. (Once properly adjusted, volume and blend are the only adjustments generally used).• Special power on/off control to minimize “pops” and speaker damage.• Super quiet mute circuit with LED indicator.• Overload LED indicator.• Buffered tuner output. Remains active when mute is on.• Pre-EQ insert for EQ or 3-wire pedal hookup.• Auxiliary stereo inputs for home practice or solo gigs with front panel level control. May be used with CD/MP3 players or can be used as a second effects return.• Auxiliary signal is converted to mono and sent to DI for recording.• New highly abrasion-resistant outer surface, durable Baltic Birch ply construction throughout. Made for years of trouble free use.• Master Wet/Dry fader control.• New advanced electronic reverb with front panel level control and remote on/off control jack.

The TCA-500B Combo Amp and Head Unit both offer a 1U rack space for an effects unit. At the time of order, either a black blank 1U panel, or a fully programmedeffects unit can be installed. Lexicon MX-200 and TC Electronics G Major-2 EFX units are currently available.

In order to use external speakers with the TCA-500B Mini-12 Combo, the external speaker option must be installed at the time of manufacture.

• Built-in Telonics “BRO” effect with remote on/off control jack, Telonics “BRO” bar included.• TRS pedal switch jack on rear panel. Allows switching “BRO” and Reverb remotely.• Balanced XLR Direct stereo output for stage and studio use. Includes ground lift switch.• New Analog DI modeling for Direct Out for live venue or studio use.• High output headphone amp with separate volume control. Can be used as a second effects SEND.• All pure analog, main signal chain. No digitization of your sound through A/D or D/A converters.• Warm tube-like, even-order harmonic sound with crystal clear highs.• Ultra low noise - studio quality.• Exceptionally high headroom.• Superb string separation at all volume levels. No muddiness!• Front mounted power amplifier on/off switch for studio use.• Front mounted AC Mains on/off power switch.• New Telonics Tilt Foot - will not rattle.• Highest quality Telonics NEO Speaker (12 or 15 inch).• Proudly made in the U.S.A. by musicians and engineers.

Support the SWSGATelonics is Proud to

[email protected] • (480) 892-4444www.telonics.com • www.tpa-az.com

Support the SWSGATelonics is Proud to

[email protected] • (480) 892-4444www.telonics.com • www.tpa-az.com

now available in various cabinetThe TCA-500B Combo chassis is

configurations to suit most applications.now available in various cabinetnow available in various cabinetThe TCA-500B Combo chassis isThe TCA-500B Combo chassis is

configurations to suit most applications.configurations to suit most applications.now available in various cabinetThe TCA-500B Combo chassis is

configurations to suit most applications.

Advertisers & Sponsors

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Steel Guitars

Worlds First Class steel GuitarsMullen Guitar Co., Inc.# # Mike Mantey11906 Country Rd. MM# # Sales/Production ManagerFlagler, CO 80815

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GFI MUSICAL PRODUCTSPEDAL GUITARS CASES STORAGE SEATS

ROBERT “Bob” DIEKMEIERGeneral Manager

220 Green Ridge Loop # # Off. 417-859-2161Marshfield, MO. 65706# # Cell 417-241-1070

e-mail: [email protected]

Wantʼs to trade- The above guitar is a D-10 Emmons LeGrande with anti-detuning on both necks, in great shape! Would like to trade for an Emmons LeGrande SD-10 with anti-detuning.Contact Dan @ (623) 824-1869, [email protected]

Traders Corner

For Sale- Carter SD-10 universal, 2007?, bought in 2010 from original owner, like new!, Pedals are Emmons set-up but knee levers are not.$1,800Contact Fred @ (928) 202-0241

mailto:[email protected]:[email protected]://www.steelseat.comhttp://www.steelseat.commailto:[email protected]:[email protected]://www.mullenguitars.comhttp://www.mullenguitars.commailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]

The Steel Guitar ‘Rag’ is the Official Publication of theSouthwestern Steel Guitar Association.

www.swsteelguitar.comPlease feel free to contact any member

of the Board with questions or concerns:Troy Porter, Chairman, (928) 200-1624, [email protected]

Fred Justice, Vice Chairman, (480) 986-2599,[email protected] Shill, Secretary, (602) 684-9228, [email protected]

Peggy Porter, Treasurer, (928) 701-1488, [email protected] Harrison, Director, (520) 668-8897, [email protected]

Regarding this newsletter,or material for future issues, contributing articles, photos, etc.,

Contact: Bill Tauson, Editor, (562) 652-9977 or email at,“[email protected]”

***Invite a friend or fellow musician to the join the SWSGA!***
http://www.swsteelguitar.comhttp://www.swsteelguitar.commailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]

Sel Guitar Rag’Page 5 Steel Guitar ʻRagʼ Hi fellow steelers, John McClung here (aka Mr. Twang /...

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