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Topic: C6 - is the high G to G# raise necessary? |
Ryan Barwin
From:
Hamilton, Ontario, Canada
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Posted 19 Aug 2009 2:39 am |
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I just changed the top string on my C6 neck from D to G. I'm liking it a lot, and I'm finding it way better for chords.
At the moment, I don't have pedal 5 raising the first string like I've seen on most C6 setups. What is this change for? And do I really need it?
I don't want to change back to the D and use C to C# change...I want to keep using the G, but I don't know if I really need to raise it.
Thanks |
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Jussi Huhtakangas
From:
Helsinki, Finland
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Posted 19 Aug 2009 4:13 am
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Well, you get an augmented with it, among other things, but do you really need it is up to you  More experienced players probably will tell you what more you can do with it. |
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Fred Glave
From:
McHenry, Illinois, USA
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Posted 19 Aug 2009 8:02 am
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In my opinion, it's the best way to get an augmented chord using the top strings. I like raising that G string to A also, but if I had to choose, I'd keep the half step raise.
_________________
Zum Encore, Zum Stage One, Fender 2000, Harlan Bros., Multi-Kord, |
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Herb Steiner
From:
Briarcliff TX 78669, pop. 2,064
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Posted 19 Aug 2009 8:50 pm
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It's also used with the pedal 5&6 combo to give a high root tone for a V13th chord.
_________________
My rig: Infinity and Telonics.
Son, we live in a world with walls, and those walls have to be guarded by men with steel guitars. Who's gonna do it? You? You, Lt. Weinberg? |
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John Bechtel
From:
Nashville, Tennessee, R.I.P.
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Posted 19 Aug 2009 10:43 pm
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Raising the (G) to (G#) is considered the standard change on P-5, but; to the best of my knowledge, Pete Drake Raised the (G) to (A) and I think Bert Rivera Lowered the (G) to (F#) on P-5. I could be all wet, but; I think I’ve got it right! On my Sho-Bud, I Raise the (G) to (G#) on P-5, but; on my Derby I Raise my 1st.-str. (D) to (D#) on P-8. I stole (steeled) that idea from B. Emmons!
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<marquee> Go~Daddy~Go, (No), Go, It's your Break Time</marquee> L8R, jb
My T-10 Remington Steelmaster |
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David Mason
From:
Cambridge, MD, USA
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Posted 20 Aug 2009 3:50 am
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| Well, that plus RKL (C-B) gives you an E major on the top three, if you can drop your A's to G# the more the merrier... P5 rolling to 5+6 and RKL toggling in and out seems "normal" to me by now. You always give up something to get something, but I can't see what it hurts. |
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Herb Steiner
From:
Briarcliff TX 78669, pop. 2,064
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Posted 20 Aug 2009 4:20 am
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| Raising the D to D# on p.8, used with the C-B lever, yields an A9#11 chord. Quite useful upon occasion. |
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Rick Schmidt
From:
Prescott AZ, USA
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Posted 20 Aug 2009 6:09 am
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| The G to G# on pedal 5 is the main reason I was so stubborn about keeping the high G on top for so long. Now that I have a D-12 (I use 11 strings on C6), it's a non issue. I've got it all now. I'm kind've the opposite of Ryan though...I finally see what they've been talking about for all these years. I could lose the G if I had to, but not the D. But hey Ryan, I spent 30 happy years loving that G to G#!!! Good luck and keep C6ing. |
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Ryan Barwin
From:
Hamilton, Ontario, Canada
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Posted 20 Aug 2009 8:01 am
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| Thanks...I think I am going to use that raise now. |
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Ethan Shaw
From:
Texas, USA
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Posted 20 Aug 2009 1:39 pm
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| the G# on pedal 5 makes the #11 of the D7(9) (open) chord. This is a great substitution chord. In C, substitute Db7(9,#11) for G7. |
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Jim Robbins
From:
Ontario, Canada
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Posted 22 Aug 2009 6:29 pm
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| The high G# combined with the pedal 5 F on the second string and knee lower B on the 3rd string gives you a diminished chord (F Ab Cb)that is good for chromatic runs between inversions of major chords on those strings (e.g. to get from C maj at the 12th fret down to C maj at the 8th fret with pedal 6 and knee lower, via Eb diminished at fret 10 to D diminished at fret 9). Try it, you'll like it. |
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