Tommy White's copedent

richard burton · From: Britain

There was an interesting snippet of information on this thread regarding Tommy's 7th string semitone raise (F# to G) on RKR, along with the usual 2nd and 9th string lowers.

I've put this change on my Marlen, and it seems quite useful, especially as I can't split the 6th string (semitone raise, full tone lower) on my Marlen (it's a pull-release) to get the G note.

It would be useful to have some input from other players to discuss the pros and cons of this change Very Happy

Jack Stoner · From: Kansas City, MO

I've had that change on my RKR, along with the 2nd string lower and 9th string lower, ever since I got my 81 Franklin new.

I previously had it on my 71 PP Emmons. Johnny Cox set that up for me on the Emmons in 1972. He told me Buddy Charleton had it and he called it his Ernest Tubb change.

Tommy White · From: Nashville

I know that's right Jack! As I recall a lot of guys had that 7th string raise on the RR ,even back in the early 70s. I've had that pull since my second steel because my dad/teacher had it on his guitar.

Ricky Davis · From: Bertram, Texas USA

I have it; as part of the Half stop on RKR. So my 7th string raises to G as 2nd string lowers to D; then on to G# as the 2nd string goes to C# and 9th string D goes to C#.
I use that 7th string all the time both the half tone raise and full tone raise....and so many times in conjunction with the E's lowered; is why I had to put the E's lowering to Eb on the left leg.
Here's my Copedent:

_________________
Ricky Davis
Email Ricky: sshawaiian2362@gmail.com

Tommy White · From: Nashville

Back in the caveman days, before solid mechanical feel half stops, we added
raising the 7th a 1/2 tone along with lowering the 9th to bolster
the half stop feel while also realizing the addition to the tuning
without compromising what is already there. If there are any cons,I haven't found them in 40 years of having that pedal change.40 years? Sure doesn't seem like 40 years. Pedal steel as we know it was only 12 to 15 years old when I started.

Herb Steiner · From: Briarcliff TX 78669, pop. 2,064

Tommy White · From: Nashville

Isn't it past all geezers bedtime?
Love you Herb!

Daniel Policarpo · Posted 5 Jan 2014 2:54 am

Well, this is great. I've had the 7 string raise since I received my steel, but really only started using it in earnest the last 4 months, or so. I find myself mostly using it as a transitional gateway in single note lines, especially going from lower frets/high strings to higher frets/mid and low strings. I don't sit on it too long for chords, but am now thinking on that a little more.
Thanks,
Dan

Gary Walker · From: Morro Bay, CA

Jeff Newman had a siminar in Fresno once and he was asked about the 7 string change. Hee poopooed it as not necessary. It's great for Dom 7th with A & B pedals and add the F lever for a nice aug.

Herb Steiner · From: Briarcliff TX 78669, pop. 2,064

I disagree with Jeff. I've had the change since the mid-70's and find it necessary for arpeggios and speed playing (what little I do) on the lower strings.
_________________
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?

Tommy White · From: Nashville

Every word of what Herb said.
There are numerous little jewels on slow passages too.
For example;assuming the Emmons floor pedal setup.
Bar on 3rd fret or any fret, pick strings 4,5 & 6 with A & B pedals(B&C for Day) engaged, pick strings 2 & 7 then engage knee lowering 2 one tone and raising 7 a 1/2 tone. Pick strings 5,6&8 no pedals for the resolving chord. Smile

I'll post more on the topic of my 7th string 1/2 tone raise when I get a minute or 3 .

Ricky Davis · From: Bertram, Texas USA

I totally agree with Herb and Tommy too.
I've had a few emails wondering how I use the 7th string raising a half and even a whole.
So below is just a small explanation of just some that I use it for; with so much more un-explained; but hopefully the encouragement to learn number values of all your strings in any position and understanding moving those tones with pedals and knee levers to change the value of a particular chord and building licks/movements....is where one will really accelerate their knowledge and playing; as oppose to just learning a lick here or there without knowing "WHY"..ha..(heck we all do it; but if you need to know, you should).
-----------------------
I can use the 7th string raise a half tone and full tone; on almost
any fret with any combination; within the chord I'm playing.
Knowing the number value of all your strings within any chord position; is
so important.
Me explaining a lick or how this turns your chord into that; just won't help
you without you knowing what I'm talking about.?
I'm always trying to advise that; if you can envision using something as
you understand what you are wanting to get/hear....then that's when you put
it on or use that particular change.
But I will tell you; some things I use it; just to change/add to a chord.
Pedals down chord..that 7th string is the 6th tone. if you raise it a half;
it becomes the flat 7th and raise it a whole it becomes the Maj7th. So you
can go from a 6th chord to a dom7th; and to a maj7th chord.
No pedal chord; it is the 9th; and raise a half becomes the minor3rd and a
whole becomes the 3rd tone matching the 6th string...so there's licks there
interchanging with the sub 4 and moving to dom5th chord..some nice sounding
movements going from 1 to 4 to 5 all on same fret.
With the E's lowered...that is a 6th chord and then raise the 7th string
within that chord; the 7th string is the 5th tone...so it becomes the
Aug.tone with the 6th string raised a half to the dom7th..a true aug. chord.
Also raising it a whole tone; makes it the 6th...then you raise your 6th
string a half tone to the dom. 7th and you have a true 13th chord.
Another nice chord is within the Maj7th chord....with A and B pedals down
two frets up from no pedal chord....lets say G on 3rd fret is open G so two
frets up with A&B pedals down 9th string to 5th string is Gmaj7. The 7th
string is the 3rd tone and raising it a half; makes a susMaj7 and raising
it a whole; puts the b5th tone...a very nice Maj7flat5 chord.
So hope that helps you understand some....and can direct you to more chord
movements.

-----------------------
Ricky
_________________
Ricky Davis
Email Ricky: sshawaiian2362@gmail.com

Greg Cutshaw · From: Corry, PA, USA

Here's one of my favorite riffs with the 7th string whole tone raise that includes the 13b5 and 13b9 chords:

Hear it!

Tab in pdf format

And a page with a few more that may give you some more versatility on the E9 pedal tuning:

http://www.gregcutshaw.com/Tab/E9%201st%202nd%20%207th%20String%20Raise%20Tab.html

First tab in picture format:

Bob Snelgrove · From: san jose, ca

Jack Stoner · From: Kansas City, MO

I've had several inquiries about the "Ernest Tubb" lick.

It can be done on any fret. e.g. 5th fret for A key.

Pick string 8, then 7 and raise 7, pick 6 then pick 4.

Will Cowell · From: Cambridgeshire, UK

It's great for dominant 7ths with A&B, and minor 6ths with A pedal. I had it on my old Marlen, loved it. In some ways I like the half-tone lower on 6 more, as on my Williams, cos you don't have to change grips. Knowing the number value of each note is crucial, as has been said.
_________________
Williams 700 series keyless U12,
Sierra keyless U14, Eezzee-Slide & BJS bars
Moth-eaten old Marshall 150 combo
Roland Cube 80XL, Peterson Strobo+HD,
EarthQuaker Despatch Master for reverb / delay

Jerry Roller · From: Van Buren, Arkansas USA

Greg, that sounds great! Love it.
Jerry

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