Solo Needs Help

Bobby Lee · From: Cloverdale, California, USA

I have a solo in one of the Open Hearts songs that I'm having a hard time playing. Here's the idea:

    Dm                          Em


F#___________1_____1_________|___________3_____3_________|


D#_____1_____________________|_____3L____________________|


G#______________1____________|______________3____________|


E ________1___________1______|________3___________3______|


B __1A___________________1A__|__3A___________________3A__|


    D  E  F  G  A  G  F  D      E  F  G  A  B  A  G  E


  


    Fmaj                        Gsus        G


F#___________________________|___________________________


D#___________________________|___________________________


G#___________________________|___________________________


E ___________________________|__3___________3____________


B ___________________________|__3___________3____________


G#___________________________|__3B__________3____________


    F  G  A  B  C  B  A  F

The problem is the third measure. The 1st and 2nd measure are full ringing scales. I don't have a knee lever that raises the high F# to G, and I can't seem to find a position that will give me that ringing sound for the notes I hear in my head. Any suggestions?

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Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax

Roy Thomson · From: Wolfville, Nova Scotia,Canada

b0b I tried that and find if for measure
three you move up to the fourth fret and apply A pedal and Knee lever raising the E's ,,,,
then play strings 5..2..4..1..3..1..4..5
you can maintain the ringing continuity.
Works for me.

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http://www.clictab.com/royt/tabmenu.htm

Jon Light (deceased) · From: Saugerties, NY

b0b---if you indeed mean B natural, I found a finger pull on the 1st string to be pretty comfortable in the 4th fret like Roy says.

Bobby Lee · From: Cloverdale, California, USA

You mean pull the 1st string with the fingers behind the bar? That's a technique I've never mastered. I'll give it a try.

The song's in C, so that note has to be a B natural. (Actually the song's in E and I start at the 5th fret. I've transposed it to C for simplicity in this post.)

[This message was edited by Bobby Lee on 06 August 2003 at 01:14 PM.]

Jon Light (deceased) · From: Saugerties, NY

Yes, that is what I mean. I'm surely no master of this but in fact this is the one place that I occasionally do it since my 1st string raise is on LKR which is impossible when I'm doing the F lever (LKL). I find it pretty easy to adjust intonation with the finger pressure just as I would quickly correct any other intonation with bar adjustment.

---in this application it also happens to be a rather forgiving note, intonation-wise, ringing against major second, major third, tritone.

[This message was edited by Jon Light on 06 August 2003 at 01:22 PM.]

Roy Thomson · From: Wolfville, Nova Scotia,Canada

A finger pull is not necessary if you play the strings in the order I outlined above (from left to right) with A pedal and Knee raising E's at fourth fret your B note is on the 3rd string. The notes all line up perfectly as you specified for the third measure b0b.

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http://www.clictab.com/royt/tabmenu.htm

Roy Thomson · From: Wolfville, Nova Scotia,Canada

Sorry guys.

Roy Thomson · From: Wolfville, Nova Scotia,Canada

The 3rd string at 4 is a C

Bobby Lee · From: Cloverdale, California, USA

No problem, Roy. We all get mixed up sometimes on this confounded instrument.

Jeff Lampert · From: queens, new york city

Depends on how firm you are about playing it on the 4th fret. Eith of these 2 patterns gives you the same notes, but the combo of ringing notes is different than the way it would be on fret 4.

1__________3______________3_______________________________________________________


2____3L______________________3L______________________8_____8______________________


3_____________3_~_3b_~_3__________________________________________________________


4_______3_______________________________________________8_________________________


5______________________________________________8_~_8a_________8a__________________


6__________________________________________8b_____________________8b______________


7_________________________________________________________________________________


8_________________________________________________________________________________


9_________________________________________________________________________________


10________________________________________________________________________________

Bobby Lee · From: Cloverdale, California, USA

Those are pretty good alternatives. Thanks, Jeff.

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Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax

Earnest Bovine · From: Los Angeles CA USA



F#____________5_____5________


D#______5L___________________


G#_______________5L__________


E _________5___________5_____


B ___5R___________________5R_


G#___________________________


     F  G  A  B  C  B  A  F

Be sure to raise the B string only a half step.
But I would probably just play it at the 8th fret and not worry about losing the G note (least important note).

Bengt Erlandsen · From: Brekstad, NORWAY

Since the Emajor scale can be played on open strings using harmonics, the idea mentioned can be played as shown in tab while notes are ringing.
Hold bar w L/H thumb & index and lightly touch strings w tip of ring or middle finger(left hand) at frets shown.



Only strings 10 thru 5 shown


 


 E major scale as harmonics 


F#--             on open strings


Eb--


G#--


E---


B----------------------------------


G#----------<12>--------<7>--------


F#------<12>---------<7>-----------


E---<12>----------<7>------<5>-----


D--------------<7>-----------------


B----------------------------------


     E   F#  G# A  B  C# D# E


  


  First part


B------------------------------


G#------<12>-------------------


F#--<12>--------<7>------<12>--


E------------<7>---<7>---------


D---------<7>---------<7>------


B------------------------------


 


 second part


B------------------------------


G#--<12>--------<7>------<12>--


F#-----------<7>---<7>---------


E---------<7>---------<7>------


D------<7>---------------------


B------------------------------


 


 third part


B------------------------------


G#-----------<7>---<7>---------


F#--------<7>---------<7>------


E------<7>------<5>------<7>---


D---<7>------------------------


B------------------------------

Dont know if you can use this but it is one way to play the idea w a lot of ringing notes w no slides or bends.

Bengt Erlandsen

[This message was edited by Bengt Erlandsen on 07 August 2003 at 10:57 PM.]

Bill Hankey · From: Pittsfield, MA, USA

Bobby L.

Could I ask very politely, how long have you been without the 1st string 1/2 tone raise? That is, the F# to G change of the E9th tuning. It is the 4th most important change, when combined with the 7th string 1/2 tone raise option. It's hard to mimic the sound of that raise, when used in combination with AB pedals.

Bill H.

Bobby Lee · From: Cloverdale, California, USA

Bengt - that's a very good idea. I actually play this solo twice, and switching to harmonics for one of them would be really cool. Thanks!

Bill - I'm not sure that the first string raise is the "4th most important" lever. I had it for years and never used it. When I removed it I didn't miss it (until just now

). I usually use a forward slant to get that note in harmonies, but that won't work in this "ringing" scenario.

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Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax

Bobby Lee · From: Cloverdale, California, USA

Bengt, are the strings in the wrong order on your tabs?

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Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax

Bengt Erlandsen · From: Brekstad, NORWAY

Tab is written the way I have always written it. But it shows only strings 10 thru 5, B D E F# G# B ( E G# Eb F# )
What might be confusing is that everything is played on open strings. numbers in < > show where to make harmonic w left finger. The Bsus and B chord (key=E)at the end in your original post can also be played as harmonics (open strings) on the 7th fret ( not shown in tab )

Bengt Erlandsen

[This message was edited by Bengt Erlandsen on 07 August 2003 at 10:49 PM.]

Bill Hankey · From: Pittsfield, MA, USA

Bobby Lee,

If you will, please, I stated that the 4th most important option included both #1 and #7. There is a distinction therein. That 7th string raise which produces a very necessary 7th chord, when used in combination with the A and B pedals has approximately as much potential in chord melodies, as any of the the melody chaser chords on the machine. Every day of the week, and ever week of the year, this change, ( 7th string 1/2 tone raise) is abandoned, and substituted by major chords, whih do not carry the melody lines. The most advantageous placement of the change is - LKV!!!

Bill H.

Bobby Lee · From: Cloverdale, California, USA

I do raise my 7th string to G, Bill. I do it on the same lever that lowers my 2nd string to D.

Bengt - thanks for the explanation. I was so fixated on the high strings that the lower octave didn't occur to me. I so rarely chime those strings. Now I get it!

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Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax

Bengt Erlandsen · From: Brekstad, NORWAY

Bobby, sorry for driftin away from the topic.

Bill, about the 1 & 7 F#-G.
Considering all the places one would use that lever:
Either by itself
or Together w E's-F
or Together w Apedal & E's-F
or Together w Apedal
or Together w Apedal & E's-Eb
or Together w Bpedal & E's-Eb
and almost forgot together w A+Bpedal
All those combinations tell me that
LKV is not the natural place to have it, RKL or RKR is where it has to be to unlock its potential together w the other levers.
Since LKV almost certain is the 5th knee lever there are other changes that belong there much more than 1&7 F#-G.
So please don't confuse those new to the steelguitar by saying

quote:
The most advantageous placement of the change is - LKV!!!

w 3 !!! at the end.

It will of course work as LKV but I cant see any reasons why it wont work better as RKL or RKR.

Bengt Erlandsen

And it is possible to mimic the sound of F#-G used in combination W A+B. Easiest is 2 frets down on strings 5 2 1 where the Eb-C# on string 2 is your A pedal workin opposite direction. The B pedal would be your F#-G to get that b7.

[This message was edited by Bengt Erlandsen on 08 August 2003 at 10:06 AM.]

Bobby Lee · From: Cloverdale, California, USA

Bill Hankey wrote:

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