Here’s my tab transcription for C6 6-string lap steel of the Thelonious Monk Quartet Misterioso head section from the album Misterioso.
The tuning is good old standard CEGACE. Low to high.
I love that it’s a Bb tune but we’re playing down around the 5th fret. (Typically my head tends to put me up at the 10th fret for Bb.)
(Click on the Flat logo to see/hear the whole piece.)
Here’s me (and my hairy legs) and my RAM Speak Easy 8-string (I only use the top 6 strings for this.)
Here’s a C6 lap steel transcription for this particular Woody Shaw passage:
Here’s the C6 lap steel transcription I’ve written out:
I love how outside of my own box this takes me (phrase starts on a six and ends on a 9) but at the same time is completely approachable because of how nicely it lays out on the neck. Nothing crazy. Eleven notes in six moves. Five moves each hold two notes. Efficient!
Here’s the original passage starting at the specific passage:
Had the pleasure recently to help organize an impromptu show in Kansas City for Dave Easley. Since I’m most familiar with his pedal steel playing it was totally interesting to see him play a 10-string weissenborn for the whole two-hour show. He played some standards like I’d hoped and then also did a few pop and country standards to boot.
Probably may favorite thing was watching these guys come up with the repertoire and arrangements on the spot despite no rehearsal.
The band were seasoned jazz all-stars Bryan Hicks on bass, Arny Young drums, and young gun Adam Schlozman on guitar.
Here’s a four-bar passage from Miles Davis and how I’ve transcribed it.
The original recording
My transcription for C6/A7 Low F 8-string lap steel tuning:
I’m attempting to start a series of posts that demonstrate and document my approach to transcribing exercises and sample passages of music from existing notation for piano into C6/A7 Low F 8-string lap steel tuning. These are exercises completely for my own learning.
Here’s the four-bar passage
Here’s Victor Young’s recording (starting from the particular passage)
Here’s how I’ve transcribed it for C6/A7 Low F 8-string lap steel tuning:
More recently I’ve been exploring the possibilities of rhythm lap steel for swing. Currently there’s not a ton of solo lap steel rhythm playing changes out there (Mike Neer is the exception). So, driving this influence for me is the guitar recordings of Eldon Shamblin and Whit Smith. What’s fascinating to me in players like this is how they take a simple three or four chord progression song and really dress it up in fancier chords.
To me, learning this approach from a blues progression is a good place to start since blues music shares ground with and is the foundation of jazz. So for Christmas I asked for the Joe Pass The Blue Side of Jazz instruction DVD and have been working through that.
In the video I made today I took exercise 3 from that DVD which I’ve really been digesting and translating recently for the lap steel tuning of C6/A7 Low F.
I play an eight string Speakeasy made by RAM Guitars and play through an old Alamo Fury with a 15-inch speaker.
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