Billy Robinson goes all the way back to the Grand Ole Opry in the 40's. When Jerry Byrd quit Red Foley, Red hired Billy Robinson (Red and Jerry did not get along). And Yes, Billy is one of the greatest bender with his left hand fingers; while playing the steel guitar. Note: Billy was a protege' of Jerry Byrd and plays a lot like him. Another one is the late and great Kayton Roberts (played with Hank Snow for 35 yrs). He was also a master of bending the notes to the left of the bar. (Note: For what it's worth, I was honored when Billy asked me if he could play at my Steel Guitar Extravaganza show; in Atlanta, GA in 1997. I shall treasure that as long as I live.)
I figured out using the rounded part of the tone bar on my own, but fixing the intonation with a vertical bend is a new idea for me. Thanks! It seems like this technique could be extended by making a tone bar that's rounded at both ends so you can grab chords with the bottom two notes being the same fret and the top note being different, or maybe even four note chords with pairs of notes at two different frets, though that might be limited by the length of the tone bar.
@@MrPatdeeee I think that we would all agree that Jerry was "the master." I just commented that Alan was a master, there have been several IMHO... Tom Morrell was another.
There seemed to be quite a bit of confusion over the diminished triad he demonstrated, and im hoping this is clears the air a little The 554 slant demonstrated creates a diminished triad. A dominant-7 chord contains a diminished triad. For instance A7 contains notes A-C#-E-G ... C#-E-G forms a diminished C# triad. A tri-tone is a two-note interval, not a triad. ( it’s 3 “tones” between two notes, which means whole steps... semi-tones are half of “tones”.. so if the bottom note is C, the top is F#).
I believe that a "dominant 7th" chord has nothing to do with a "diminished" chord, and vice versa. Yes the notes BDF has the same notes as in a B dim. The problem is when you add the 4th part in music, a real problem appears. IE: GBDF (G7th) vs BDFAb (B dim). To the ear those two chords sound distinctively different. This is because that Ab vs F creates a problem... ...notice that in the key of C, there IS the note F. BUT...there is NO Ab note in the key of C. Thus, I simply can not buy the notion that there is a B dim chord in the Key of C. To me that is wrong. Again note the 4 parts above. Thus the 7 chords in the key of C are: C, Dm, Em, F, G, Am and G7th (NOT Bdim). I know, I know, that the entire world of music says that there IS a Bdim chord in the Key of C. I will never believe it! LOL For what it's worth. I meant NO disrespect by the way.
"I know, I know, that the entire world of music says that there IS a Bdim chord in the Key of C. I will never believe it! LOL" at least you are aware of your own ignorance. I never claimed C major to have a fully diminished-chord, you did. I know where these chords actually derive from, if you want to know the truth of the origin (which goes hundreds of years back to composers like Bach) of diminished-7th chords, I can tell you. Its not some mysterious thing, its simple and mathematical, and has been known. You have to want to learn. If you want to, I can tell you.
Have you tried a Shubb SP1 "John Pearse" model bar it has finger grooves down the side but still has a rounded end so you should be able to grip it and still push down on the middle string in the split.
Why not switch to a round bar. Then you will have the best of all worlds. Getting used to it takes a very little time. Once mastered you will not want to go back to the "Steven's type bar".
Well there is not a single 8 string CG tuning. But the most popular one is: (LO to HI) C F A C E G A C E. The tuning is better called Fmaj9. For what it's worth.
I have great respect for Alan Akaka, but I find I can be closer in a split slant to C9 intonation than he is demonstrating. By holding the 12 and lower 13 with a round bar, the bullet nose picks up the upper 13 note in its curve, slightly behind the lower 13. Certainly much closer than the 12 and upper 13 method, where the lower 13 is flat.
I agree kind Sir, and I assume your numbers represent one's left fingers. The "Steven's type Bar" was designed ONLY to teach the learner to hold the bar; when first beginning to play a steel guitar. But within a short time; they should switch to the "round" bar. More succinctly; the late Jerry Byrd (the greatest laptop steel player there will ever be) said, "A 'Steven's type Bar' is pure garbage". I agree totally. I know, I know, that players like Jerry Douglas (the world's greatest Dobro player) and 99% of R & R's use it. But it still should not be used. For once mastering a round bar (with the concave back of the bar), one can do MANY more things than a Steven's bar can do. Oh indeed yes. IE: better vibratos, slants, half slants, reverse slants, ergonomics with the left hand, muting strings above the bar and embellishing the timbre of playing a steel guitar, etc. Oh Yes. May Jesus rest the precious soul of Jerry Byrd. (A dear friend and I shall miss him until I die.)
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Alan Akaka has an amazing video on the history of slide tunings.
LOVE your channel bro! You make it about learning and music, not a vanity channel all about you lol. Subscribed 🙂
Thanks so much!!!
Billy Robinson goes all the way back to the Grand Ole Opry in the 40's. When Jerry Byrd quit Red Foley, Red hired Billy Robinson (Red and Jerry did not get along). And Yes, Billy is one of the greatest bender with his left hand fingers; while playing the steel guitar. Note: Billy was a protege' of Jerry Byrd and plays a lot like him.
Another one is the late and great Kayton Roberts (played with Hank Snow for 35 yrs). He was also a master of bending the notes to the left of the bar.
(Note: For what it's worth, I was honored when Billy asked me if he could play at my Steel Guitar Extravaganza show; in Atlanta, GA in 1997. I shall treasure that as long as I live.)
I figured out using the rounded part of the tone bar on my own, but fixing the intonation with a vertical bend is a new idea for me. Thanks! It seems like this technique could be extended by making a tone bar that's rounded at both ends so you can grab chords with the bottom two notes being the same fret and the top note being different, or maybe even four note chords with pairs of notes at two different frets, though that might be limited by the length of the tone bar.
Alan Akaka......... a Master !
yes he is amazing
Jerry Byrd is the "Master". I believe that Alan would echo that!
@@MrPatdeeee I think that we would all agree that Jerry was "the master." I just commented that Alan was a master, there have been several IMHO... Tom Morrell was another.
There seemed to be quite a bit of confusion over the diminished triad he demonstrated, and im hoping this is clears the air a little
The 554 slant demonstrated creates a diminished triad.
A dominant-7 chord contains a diminished triad. For instance A7 contains notes A-C#-E-G ... C#-E-G forms a diminished C# triad.
A tri-tone is a two-note interval, not a triad. ( it’s 3 “tones” between two notes, which means whole steps... semi-tones are half of “tones”.. so if the bottom note is C, the top is F#).
I believe that a "dominant 7th" chord has nothing to do with a "diminished" chord, and vice versa. Yes the notes BDF has the same notes as in a B dim. The problem is when you add the 4th part in music, a real problem appears. IE: GBDF (G7th) vs BDFAb (B dim). To the ear those two chords sound distinctively different. This is because that Ab vs F creates a problem...
...notice that in the key of C, there IS the note F. BUT...there is NO Ab note in the key of C. Thus, I simply can not buy the notion that there is a B dim chord in the Key of C. To me that is wrong. Again note the 4 parts above. Thus the 7 chords in the key of C are: C, Dm, Em, F, G, Am and G7th (NOT Bdim).
I know, I know, that the entire world of music says that there IS a Bdim chord in the Key of C. I will never believe it! LOL
For what it's worth. I meant NO disrespect by the way.
"I know, I know, that the entire world of music says that there IS a Bdim chord in the Key of C. I will never believe it! LOL" at least you are aware of your own ignorance. I never claimed C major to have a fully diminished-chord, you did. I know where these chords actually derive from, if you want to know the truth of the origin (which goes hundreds of years back to composers like Bach) of diminished-7th chords, I can tell you. Its not some mysterious thing, its simple and mathematical, and has been known. You have to want to learn. If you want to, I can tell you.
@@MrPatdeeee Also please tell me what you call a chord with the notes B D F. Because to the rest of the world thats called B-diminished.
Ola amigo essa suaafinacao qual e mesmo das cirdas finas ou graças
Ola meu amigo sou do brasil essa afinacao da sua awauana ê das grocas pra fina .ou ê das finas ora groças .tenho uma awauana de 8 cordas
Great interview
Great video. Any recommendations for a bar that works well for a 6 and 10 string with some weight. Or which one does alan use?
Billy Robinson plays a lot in the non pedal room at TSGA in Dallas
Have you tried a Shubb SP1 "John Pearse" model bar it has finger grooves down the side but still has a rounded end so you should be able to grip it and still push down on the middle string in the split.
Why not switch to a round bar. Then you will have the best of all worlds. Getting used to it takes a very little time. Once mastered you will not want to go back to the "Steven's type bar".
Hi. can you write the C6 tuning for 8 string lap steel ?. mahalo from Italy.
Well there is not a single 8 string CG tuning. But the most popular one is: (LO to HI) C F A C E G A C E. The tuning is better called Fmaj9. For what it's worth.
I have great respect for Alan Akaka, but I find I can be closer in a split slant to C9 intonation than he is demonstrating. By holding the 12 and lower 13 with a round bar, the bullet nose picks up the upper 13 note in its curve, slightly behind the lower 13. Certainly much closer than the 12 and upper 13 method, where the lower 13 is flat.
I agree kind Sir, and I assume your numbers represent one's left fingers.
The "Steven's type Bar" was designed ONLY to teach the learner to hold the bar; when first beginning to play a steel guitar. But within a short time; they should switch to the "round" bar. More succinctly; the late Jerry Byrd (the greatest laptop steel player there will ever be) said, "A 'Steven's type Bar' is pure garbage". I agree totally.
I know, I know, that players like Jerry Douglas (the world's greatest Dobro player) and 99% of R & R's use it. But it still should not be used. For once mastering a round bar (with the concave back of the bar), one can do MANY more things than a Steven's bar can do. Oh indeed yes. IE: better vibratos, slants, half slants, reverse slants, ergonomics with the left hand, muting strings above the bar and embellishing the timbre of playing a steel guitar, etc. Oh Yes.
May Jesus rest the precious soul of Jerry Byrd. (A dear friend and I shall miss him until I die.)
how would Centro benders work on this tuning.
Great!
What brand of guitar?
need compensated bridge to play in tune.
asher-guitars-lap-steels-store.myshopify.com/pages/alan-akaka-signature-8