C6 - why not pull high C to C# with the Boo Wa pedal?

Dave Zirbel · From: Sebastopol, CA USA

Just curious if anyone raises their high C (3rd string) to a C# with the Boo Wa pedal. That seems to me like it could be a useful change unless you need to play the "Purple Haze" chord.

Thanks, Dave

Paul Warnik · From: Illinois,USA

Dave-I had the C-C# change on the 11th string of my old D-12 Sho-Bud which had the low "A" on the 12th string-didn't make much sense to have a unison note down there with the "splat pedal"

Billy Wilson · From: El Cerrito, California, USA

Alot of C6th necks have a knee lever which brings both C's up to C sharp. thus allowing one to retain the Purple chord. Gotta have the funk!!

Roger Rettig · From: Naples, FL

That #9 is a characteristic of the pedal - I occasionally raise my third string on a knee along with pedal 8, though.

I suppose we could have the C-C# incorporated into the pedal, then lower our third string for the #9 - then we'll be back where we started....

RR

b0b · From: Cloverdale, CA, USA

Robbie Daniels · From: Casper, Wyoming, USA

My 6th knee lever raises my high C to C#. I use it mainly for a 6 major change sometimes alone or in combination with pedal 8 or it also gives an augmented 7th or 9th with pedal 6. Raising the C to C# also gives you extensions and runs similar to the F knee lever on E9th.
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CrowBear Schmitt · From: Ariege, - PairO'knees, - France

that C to C# w: P5 is handy too
played 3 frets above 0 it gives you a 6th voicing that is similar to P7 on 5 frets above 0
(0 being root chord no pedals, no levers : fret 0 = C6)

also rockin' back & forth from C# to B is hip when you're playin' that major chord w: P8

i raise both my Cs to C# on LKV - that way i don't always need P8

Dave Zirbel · From: Sebastopol, CA USA

All sounds good to me. Thanks for the feedback. I don't know really how to use the #9 chord(except in Purple Haze Laughing

) but it's a cool chord. I'll have to rig up a knee lever for C to C#. I also need to learn how P1 of C6 is used(A's to B's).

Thanks again
dz

Billy Wilson · From: El Cerrito, California, USA

Dave, one of my favorite sounds with the A's up to B's pedal is being able to get the maj7 chord with the minor 2nd interval in it. In other words the notes on the open strings would be (low to high) G B C and E. Very sweet chord.

Pete Burak · From: Portland, OR USA

Hi Dave,
Hey, I have that change on P8...
It is analogous to the F lever on E9th.
You can use it the same way on 6th tuning, wether it's C>C#, or B>C (for Universal).
The beauty of having that change rodded up is... you can either use it, or not use it.
It's a half step raise and takes about 4 seconds to back off the endplate tuner (if the next song happens to be Purple Haze). I can't image in taking more than 10 seconds to tune it back in.
Anyway.. yeah, it is just like having an E9th "F lever" that works on your 6th neck.
If you want to get crazy you could even do away with the traditional C6 P8 changes altogether and just have it raise all 3 C's to C#.
fwiw, I've nick-named P8 "The Convention Pedal" because I listen to alot of steel and basically never hear it used for more than a split second here or there, but you will hear it quite a bit in St.Louis!
~pb

Dave Zirbel · From: Sebastopol, CA USA

Hi Pete. That's a good idea. Add the change and tune up if I need it.

Thanks!
dz

b0b · From: Cloverdale, CA, USA

I use my C to C# lever a lot more than I use P8. I guess it's because I use the F lever a lot on E9th, and it serves up the same positions.

Consider this: when you raise both both C's to C# and lower G to F# (P5), it gives you the good old A6th tuning. If the C raise is on a knee lever, you don't have to use both feet. I put it on LKL, just like the F lever on E9th. Feels right to me, and I never get confused. Mr. Green

yeah, right!
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Roger Rettig · From: Naples, FL

I have the same approach, b0b. As I have a 'Day' set-up on my E9, I take things a bit further, and I lower my Cs with my (middle) LKL and raise the third with my LKR - that's exactly what I'm doing with my left knee on the front neck, and the familiarity of that method has been a boon.

I certainly use the C-C# raise much more than pedal 8 - it's been a lifesaver along with the D on the first string, as I started on C6 very late in life. Having that correlation with my E9 has helped me get to grips with the C neck sooner than I might have done.

RR

Al Marcus · From: Cedar Springs,MI USA (deceased)

All of the above. Good advice.
Plus without the G on top , you can get the G by raising that 3rd string to C#, to get the fifth so you dont have to jump 12 frets to get it.
As mentioned , it is like the E to F on the E9, both good and very important.But I dont want to spoil my P8, so get that on a another place.
As I have E6 instead of C6, my E to F does double duty, for the E9 part and the high fifth...al. Smile

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John Steele · From: Renfrew, Ontario, Canada

Something I haven't seen mentioned in this thread is:
the combination of (from low to high) C# G C is not only an A7#9 chord, but also Eb13.
I had the privilege in playing in some jazz combos with a man I respected greatly for his musical knowledge and reputation as an ace arranger. I learned he had played 6 string lap steel as a child. I mentioned potential jazz tunings for a 6 string to him one time, and the next time we met he walked over to my piano and said: "It would be really great to have this interval in there.." and he played (low to high) C# G C .
You'll notice that the Leavitt tuning has this interval, so apparently he agreed.
The dissonance created by the C# against the C is a powerful thing. Also the alterations possible of the A7#9 chord and also the Eb13 chord make it appealing to alot of players. (The A7#9 can be amended to A9 by lowering the 3rd string... the Eb13 can be amended to Eb7b13 by the same method).
In short, I wouldn't want to lose that voicing.
-John

Jim Robbins · From: Ontario, Canada

John, that Eb using the boo-wah is a very nice tri-tone sub & great use of the pedal -- conveniently located fretwise and pedal wise to ii (1 fret up, no pedals) and I6 (same fret as ii, pedal 2 on my set up, right next to boo-wah - raises strings 3 &4 a whole tone). Classy sound & reduces ankle whiplash. Thanks.

Billy Wilson · From: El Cerrito, California, USA

Dave, look in Steel on the Web here on the forum and there is a clip of Chaulker goin all Purple Haze on Tennesee Waltz of all tunes.

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