The “12th Street Rag” is a quintessential tune in Hawaiian steel guitar repertoire, and Sol Hoopii’s rendition is particularly iconic. Many players find the signature lick in this song challenging to execute cleanly. This article delves into a technique explained by renowned musician Bob Brozman, offering insights into how to master this tricky passage.
Bob Brozman’s Technique for the 12th Street Rag Lick
During a Hawaiian Guitar workshop, Bob Brozman addressed the common question of how to play the 12th Street Rag lick smoothly. His explanation breaks down the technique into several key components:
Closed Position Playing
The lick is played in a closed position, meaning without utilizing any open strings. This approach provides control and clarity, especially at higher frets on the neck.
Finger Sequence Explained
For example, if you are playing the lick around the 14th fret, the suggested fingering sequence is as follows:
- First note: 1st string, 14th fret – use your middle finger.
- Second note: 1st string, 13th fret – use your index finger.
- Third note: 2nd string, 14th fret – use your thumb.
This specific finger combination allows for a seamless transition between notes within the closed position.
The Importance of Circular Left Hand Motion
The crucial element for achieving a smooth sound is the continuous counterclockwise circular motion of your left hand (assuming you are a right-handed player). This motion needs to be synchronized so that your steel bar is precisely over the correct fret at the right moment as you move through the finger sequence. This constant movement, rather than static positioning, is what creates the fluidity in the lick.
Round Nose Steel is Key
Brozman emphasized the necessity of using a round-nosed steel for this technique, as opposed to a Stevens-style steel. The round nose steel facilitates the smooth gliding and note transitions required for the circular hand motion and clean execution of the lick.
Tuning and Key of Sol Hoopii’s 1927 Recording
The Sol Hoopii 12th Street Rag version most likely being referenced is the 1927 recording, track 1 of the “Sol Hoopii Vol 1” compilation from Rounder Records. Analysis suggests this version is in the key of E, with the triplet notes being E, D#, and C#. It’s noted that the recording sounds slightly sharp, and it’s believed Hoopii employed a G tuning for this performance.
Evidence for the G tuning comes from a specific moment around 17 seconds into the track. At the end of the A part, Hoopii plays a simultaneous D and D# which creates a “honking” sound. It’s theorized that he achieves this by playing an open D on the 1st string and a D# on the 2nd string at the 4th fret, further supporting the idea of a G tuning. In G tuning, the open 1st string is indeed a D.
Variations in Performance
Interestingly, when examining other early Hawaiian guitar recordings of 12th Street Rag by artists like Rodney Rodgers and David Burrows, it’s observed that they often play this lick higher up the neck. This alternative positioning simplifies the execution of the lick, suggesting different approaches and interpretations existed even within the early Hawaiian steel guitar scene.
Conclusion
Mastering the 12th Street Rag lick, especially in the style of Sol Hoopii, requires a nuanced understanding of closed position playing, finger technique, and the crucial circular motion of the left hand. Bob Brozman’s insights provide a valuable framework for players aiming to conquer this iconic lick. By focusing on these techniques and perhaps experimenting with G tuning, guitarists can unlock a smoother and more authentic rendition of this classic Hawaiian steel guitar piece. Exploring recordings by Sol Hoopii, Rodney Rodgers, and David Burrows can further enrich your understanding and appreciation of the diverse approaches to this timeless tune.
