Origin/Purpose of F Lever

Gerald Shaw · From: Florida, USA

I'm trying to get a better uderstanding of the purpose of the F Lever. I can see why the A-B-C and E Levers would be required, as they give you all the notes from the major scale so that you can build all 7 of the chords derived from the scale. But the F lever gives you a note a half step above the root. So if I'm in C, the F lever gives me a C#, which really doesn't seem to be too useful in the C 8 fret position. Now I know I can drop down to the 6 Fret and get a G major chord using the A pedal and F Lever, but I can get those same notes on strings 5-2-1 without moving from the 7th fret. THe same goes for the G7 at the 6th fret using only the F lever. I can get the same chord at the 7th fret by using the B lever and strings 1 and 2.

So I'm wondering why the F lever is considered so fundamental. Was the F Lever implemented prior to the introduction of strings 1 and 2? I use the F lever with the A pedal interchangably with the E lever only (just 2 frets up)

I've found the F lever usefull when working out scales on different parts of the neck (without having to change postions). But I'm not real sure why it's considered a must have change.

Similarly, is the half step drop on the second string designed to allow me to play in the A+B 4 chord position ? For instance the 2nd string half drop gives me a Bb which gives me the notes I need for the F scale at the 7th position. Same thing with the 1/2 step drop of the B string. At the 7th position I can turn the G note into an G#, and have all the notes I need for the G scale. Is that the right idea? Lots of questions, guess I need a teacher

b0b · From: Cloverdale, CA, USA

I don't know the origin, but Lloyd Green is often credited with its discovery and first recorded use. For me, it's always been a common bar slant on non-pedal which made it an obvious choice for a pedal or knee lever. I had it on my first pedal steel in 1972 and even today it's my most-used knee lever.
_________________
-𝕓𝕆𝕓- (admin) - Robert P. Lee - Recordings - Breathe - D6th - Video

Chet Wilcox · From: Illinois, USA (deceased)

I agree BOB, it is my most used lever also

John Billings · From: Ohio, USA

"I can get those same notes on strings 5-2-1 without moving from the 7th fret."

Sometimes,,, the "movement" is what it's all about!

Norman Evans · From: Tennessee

Doesn't the F lever raise give you a diminished chord on strings 3 4 5 6 8 9&10? I think it does.
Norm

Kevin Hatton · From: Buffalo, N.Y.

It's about movement. Diminished chords. If you play the A&F chord and let off the A pedal you have a seventh. Let off the lever and you have a minor chord. It's about moving into different positions using a lever. Transitioning.

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Dick Sexton · From: Greenville, Ohio

"Think chords", exactly...
Scale played as chords...
1.__________________________________________________
2.__________________________________________________
3._______________________________1_____3_____3B_____
4._____________________1____3____1E____3F____3______
5._________1A____3A____1____3____1_____3_____3A_____
6.___3B____1_____3_____1____3_______________________
7.__________________________________________________
8.___3_____1_____3__________________________________
9.__________________________________________________
10.__3A_____________________________________________

Fill idea using the F lever...
1.__________________________________________________
2.__________________________________________________
3.___________1--1B__1-4_____________________________
4.___3A-3F___1E-1E__1-4F__4F-5F-6F_________________
5.___3--3____1--1A__1-4___4---5--6__________________
6.___3B-3_________________4---5--6__________________
7.__________________________________________________
8.__________________________________________________
9.__________________________________________________
10._________________________________________________

Mark van Allen · From: Watkinsville, Ga. USA

Hi, Gerald, you are obviously thinking in chord/scale relationships already- but you can look at more positions than just the "no pedals" and "pedals down" positions.
Yes, at "No Pedals" the "F" lever or E to F raise simply moves the Root up a half tone. But if you look at that as the new root note, you now have "half diminished" or minor b5 triads on the usual string groups (10,8,6,5,4,3). If you need a diminished 1 chord then, you move back one fret and add the lever.
Three frets up from the "no pedals" position, as per Kevin's post, you have a 1 major chord on those same groups with the A pedal and E to F lever. The 8th and 4th strings (lever engaged) are the 3rds of the major chord at that position, and that's why if you let off the E to F lever you have the 1 minor at that fret. Letting off the A pedal there while keeping the lever engaged lowers the Root tone made on the 5th and 10th strings back down to a b7, giving you a dominant 7th chord there (no root).

At the "Pedals Down" position, the 8th and 4th strings are the 5ths of the chord, engaging the lever there raises them to #5 notes, giving an augmented across the grips, widely used as a passing chord.

There are near-infinite uses of the 4th string raise along with the first three strings in various combinations, many of which are "improper" theoretically but sound good in a lick context. Listen to Weldon Myrick, Hal Rugg, and Buddy.

As with many other aspects of the Pedal tuning, the available chord tones aren't immediately obvious and take some exploration. That's one of the most fun things about this goofy instrument!
_________________
Stop by the Steel Store at: www.markvanallen.com
www.musicfarmstudio.com

Lynn Kasdorf · From: Waterford Virginia, USA

Here is my simple-minded way of thinking about it.

From no pedal position, A+F gives you a 6 chord (dominant, not minor).

Similarly, A+F gives you another major chord position 3 frets up from the no pedal position.

A very common chord progression is 4 to 4# dim. So, if your song is in G, you can get the 4 chord (C) at the 8th fret, no pedals. You get the 4# dim at the same fret by engaging the F lever.

If you are at the A+F position of a chord, drop off the A pedal and you have a 7th.

Jeff Newman once told me that first use of the F lever on record was I think a Connie Smith song that features a slide from A+F down to no pedals and back to A+F. I'll think of the song shortly.

I do disagree with b0b that this is a more useful change than the lever that lowers the Es (called the D lever by us Newman students). I use both all the time, but I thing lowering Es is more important. My $.02
_________________
"You call that thing a guitar?"

Brett Lanier · From: Hermitage, TN

Rather than just thinking about what you can do with the pedals and levers in one position, try to imagine using combinations of pedals and levers as you go up the neck in one key. They'll help you utilize all ten strings no matter what position the bar is in.

Jerry Overstreet · From: Louisville Ky

Lynn Kasdorf · From: Waterford Virginia, USA

Joey Ace · From: Hamilton, Ontario, Canada

Here is a link to an 8 year old post where Lloyd answered the question.

http://steelguitarforum.com/Forum5/HTML/007456.html

Gerald Shaw · From: Florida, USA

Thanks for all the ideas on using the F lever.

If I understand the concept from the link, the idea is that you can get the 3rd inversion of the major chord using the F Lever combined with the A Pedal.

On the 8-6-5 string grip:

A&B Pedal down has the 5th- Root- 3rd

open position (5 frets above the A&B position) has the Root - 3rd -5th

A and F (3 frets up) has the 3rd - 5th - root.

Thanks again for all the ideas.

John Alexander · Posted 16 Apr 2012 3:32 pm

Another one: With just the B pedal and the F lever engaged you have on your 3rd, 4th and 5th strings a 9th chord (containing the 3rd, 7th and 9th of the chord).

Try: Play a triad on 3, 4 and 5 at the 5th fret with pedals up, then slide down to the 2nd fret while engaging B and F.

Or: Play a triad on 3, 4 and 5 on the 5th fret with A&B pedals down, then slide up to the 7th fret while releasing A and engaging F.

Also works with triad inversions and open voicings using strings 8 and/or 10. (Try strings 4,5,6 or 3,5,8, or 4, 6,10)

The same chords can be found by lowering the B strings a half step with pedals up, a fret higher than the above examples, but not everyone has the B - Bb change. (I noticed Jay Dee using the B pedal and F lever combination in Phoenix this year, and asked Frank Carter about it - he told me Jay Dee does not have the B string change in his copedent.)

Then there is the augmented chord using A, B and F together.

I hope the above is right - I don't even play E9. Smile

John Scanlon · From: Jackson, Mississippi, USA

Kind of surprised no one's mentioned one common chord change use for it: Going from a I chord (AB down) to a IV chord (AF, 1 fret up).

Or am I missing something?

Mark van Allen · From: Watkinsville, Ga. USA

John, the "3 frets up" position has been mentioned several times, and the one fret move to the IV from pedals down could be inferred from some experimentation as one plays through these positions as, for instance , would be the smooth I to VI move from no pedals to "A & F" at the same fret.

Another thing worth noting, in a good bit of modern country, especially big "Female Artist" ballads, there's frequent use of the I to I/III or one major with the third in the bass. When played on guitar or keys, that change can often sound like a completely different chord rather than just a revoicing. The easiest way to play that is the I chord no pedals, root on the 8th string, moving up to the "A & F" position three frets higher, where the 3rd is now on the 8th string. Of course that sounds great even if the rest of the rhythm section isn't doing it.
_________________
Stop by the Steel Store at: www.markvanallen.com
www.musicfarmstudio.com

Lane Gray · From: Topeka, KS

Several songs go from the IV to the II (two that come to mind are San Antonio Rose and the pretty ballad "Out Among the Stars).
If you hit the IV plain, add that "F" lever (in quotes because it doesn't raise E to F), especially in slow ballads where you can let it ring, you turn IV into a II dominant7.
Bluegrassers can use it in Bringing Mary Home
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

b0b · From: Cloverdale, CA, USA

Fred Glave · From: McHenry, Illinois, USA

There is just a ton of diad runs with F lever working out of the I, IV, V positions with no pedals and/or A&B down. Referring to what Lane said using the San Antonio Rose example, I would be bummed out if I had to use another way to play that song. There is also diminished chords and (augmented chords A&B pedals down with F lever) That lever really brings the instrument to life for me.
_________________
Zum Encore, Zum Stage One, Fender 2000, Harlan Bros., Multi-Kord,

Lane Gray · From: Topeka, KS

Not to mention a lot of Hughey harmony double-stop stuff was 4&8 with A &F.

PS: And even when we tune ET, the use of a note determines its label vs. an enharmonic name: In a C# chord, III is E#, the F having been also sharped (you don't build a major chord with a flatted IV/XI). But that's being pedantic. Which is what they invented the internet for.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

Jack Aldrich · From: Washington, USA

I'm puzzled by all the discusion about the F lever. For me, it's simple. I have the root chord open (an E chord), the first inversion of the chord at the 3rd fret the 2nd inversion of the chord at the 7th fret, and the root again at the 12th fret. Working form there, you get all kinds of interesting and fun transitions. I had the F lever on my first ShoBud back in 75, from Red Rhodes, who told my that, once I got used to it, I'd find that I couldn'r live without it. True. - Jack

Jack Aldrich · From: Washington, USA

Jerry Hayes · From: Virginia Beach, Va.

Even my personal hero Ralph Mooney used this change. Ralph didn't have the "chromatic" strings so his first string was a G# with an E as his second. He raised that high E to F on the same lever that lowered his 6th string E to D#.... It's a great change that I use mostly for augmented chords, A+B+F..

One thing I like to do with the F lever is "passing" type fills. For instance if you're in the key of G at the third fret and only using strings 3, 4 & 5. Just start playing those strings in this order: 3 5 4 3 in quarter notes. Then slide up one fret while applying the F lever. Play the same sequence of strings. Then keeping the F lever engaged do it again at the 5th fret and again at the 6th fret. Then go to the C at the 8th fret, same strings, same moves, then on to the D at the 10th fret, same thing again. And finally wind up at the G on the 15th fret...

You can use this either in a ballad, swing, or even in bluegrass type speed pickin'... Nice sounding move. I got it years ago from James O'Rafferty in Los Angeles........JH in Va.
_________________
Don't matter who's in Austin (or anywhere else) Ralph Mooney is still the king!!!

Forum Index > Pedal Steel	Goto page 1, 2 Next	Next oldest topic :: Next newest topic