Technique
Do you teach or act as a musical mentor?
I used to teach private lessons but got too busy to keep it up. I still do camps and lots of workshops.
Have you produced any instructional materials like books or videos?
Are you planning to write or produce any?
I did a video for Mel Bay several years back [now out of print] that will be re-issued on DVD. I would like to do a book someday.
What sort of practice routine do you have?
Just try to keep your guitar out of the case, and easy to get to. The harder it is to gain access to my guitar, the less I seem to pick. I always used to leave mine right beside the sofa. It made it easy to pick up between TV commercials to pick a lick or two.
Do you have any favorite warm-up exercises you might share?
Not really. My main thing is just to make sure I am in tune. Some players just don't take time to tune. You can play a million great licks, but if they aren't in tune they don't really amount to much.
I'm not a Dobro® player, but some obvious questions about tuning come to
mind. For example, if the Dobro® is generally tuned to a G-major chord
[GBDGBD low to high], how do you play in a minor key? Do you have to
retune the instrument?
Sometimes I do, but most of the time I just hit the minor notes in the scale. This comes from just learning the neck.
What do you do to keep your repertoire fresh-sounding?
I try to find new tunes constantly, tunes that move me or that make me want to tap my foot. Often, I select tunes that take me back to a certain era, like an old classic rock tune.
I suppose you'll address questions like this in your column, but are there
many alternate tunings for the resonator guitar?
Yes there are. G tuning is of course standard. Some of the other common ones are D, E, and Gm. There are also lots of cool Hawaiian tunings.
What are the key elements of your technique/style?
I try to emphasize the "4 T's"......Taste, Tone, Timing and Technique.
How do you go about muting unwanted resonances?
Most of the muting on a resonator guitar is done with the little and ring (3rd and 4th) fingers of your left hand. These are the ones behind the slide that touch the strings.
Is the resonator guitar capable of playing jazz or classical music?
Yes, it adapts very easily to these styles.
When you were teaching, what areas did you emphasize with your
students?
The "4 T's". Then I advise them to practice as often as they can, and listen to lots of other resonator guitar players. It also helps to listen to lots of different styles of music.
Can you offer any suggestions about forming a concert repertoire or
preparing for a concert?
Try to find tunes that "flow" well from one to the next. This is done by selecting tunes with contrasting tempos. You have to realize that not everyone in your crowd will fully understand or identify with the music. Play some familiar tunes to connect with these people specifically. In the end, you'll want to try to appeal to everyone in your audience.
Creative Process
When arranging or composing for the guitar, do you actually write out the
music or tab, or do you prefer exploring with guitar in hand until you come
up with something memorable and then record it?
I have never done it this way. I have always played from my head. Seems like I stay fresh that way. I usually have a "base structure" that I play around, but it's never exactly the same every time.
How important have your own compositions proven to be?
It's great to be able to write some of your own stuff. I wish I wrote more tunes, but I just can't force them. They kinda come to me at strange times. It's great when you hear someone actually playing one of your songs. "Flattering" I guess would be the word.
What sources of inspiration do you draw upon?
I can find something in lots of different areas of music. Sometimes it may be another bluegrass player, other times it could be a rock and roll guitarist.
Do different resonator guitarists in your record collection inspire different
types of tunes?
Yes, there are certainly tunes that are trademark sounds of certain players. Sometimes when I am working out a tune, I'll think of a lick that say, Mike Auldridge would play. I'll try it, and if it fits I'll use it. I've drawn ideas from several great players, but today's young upcoming players have not only a huge array of artists to emulate, but also have lots of instructional aids that were not available when I was learning.
FREE ONLINE MAGAZINE
