What to do with raise 1 & 7 from F# to G?

Klaus Caprani · From: Copenhagen, Denmark

I have the raise 1 & 7 from F# to G# on my LKR, which actually makes a quite nice raise for licks in my opinion.

I've seen the raise 1 & 7 from F# to G mentioned in other places, and wonder what specific chords can be achieved with that raise (I just might add a half-stop to my F# to G# raise).

I tried to hold the lever halfway engaged, but it's difficult to hear anything useable. After all the augmented chords should not be too far off to sound very unuseable and I must admit not to be too strong in music theory.
Any suggestions?

All the very best

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Klaus Caprani

MCI RangeXpander S-10 3x4
www.klauscaprani.com

Jon Light · From: Saugerties, NY

I can't imagine trying to "half-pedal" the knee lever there--it's a much less precise muscle movement than a foot pedal motion. But a true feeler half-stop, while I don't care for them, could work (certainly works for many people).
The F#>G, in my mind, is a melodic note, not a chordal one. Think of Mooney in the "Tonight the Bottle Let Me Down" intro------A&B pedals down, the first string G gives you the high note dom7.

I replaced this move with a lever lowering the 3rd string, with the pedals down, to G for an easier downward 3-4-5 rake.

John Steele · From: Renfrew, Ontario, Canada

I'm with Jon on that... I use it to provide the dominant 7th to my AB pedal chords mostly. (And mine's on a half stop - works great once you're used to it!)
If I had to cite an example, I'd again use Jon's reference to Mooney, in particular his solo on "Swingin' Doors".
-John

John Steele · From: Renfrew, Ontario, Canada

I can't remember what key the original was in, so I'll take the key of G for this example... Moon's solo was kinda like this:



1----------------------------------


2----------------------------------


3----------10b---------------------


4--10~10c------10----------10------


5------------------10~10a----------


6------------------------------10b-


7----------------------------------


8----------------------------------


9----------------------------------


10---------------------------------


...1...........2....3...........4..





1--10r---------------3r-------|------------


2-----------------------------|------------


3-----------------------------|------------


4------10---------------3-----|------3-----


5---------10a~10----------3a~~|~3----3~~3a-


6----------------10b----------|---3b-------


7-----------------------------|------------


8-----------------------------|------------


9-----------------------------|------------


10----------------------------|------------


...1.......2.....3......4.....  1..2..3

The first measure starts with three notes played as triplets, then a quarter note, then repeat that pattern. I know Mooney's setup was unusual, so I've tried to translate it to a regular setup. Getting to the third fret fast enough is hard.
I've always considered the seventh to be an intregal part of the Merle sound.
-John

[This message was edited by John Steele on 25 November 2004 at 01:27 PM.]

Bengt Erlandsen · From: Brekstad, NORWAY

The F#-G on 1&7 can be used for a whole variety of things.
1: hold it to make a minor on strings 8 7 5 instead of the major on strings 8 6 5 in the same position.
2:Gives a needed note for certain pentatonic patterns, example open position w 1&7 to G and Bpedal = minor pentatonic w root note on the 8 string(relate to open position
3 F#-G gives a nice low voiced 6th voicing 3 frets below open pos on strings 10 9 8 7, adding E-F at the same time makes it a dom7th voicing
4: Nice dom9th can be found 2 frets above open pos, play strings 8, 6, 5 then 7 and slide up 1fret while adding F#-G(=whole tone raise) and add strings 5 w Apedal & 4 w E-F

Just experiment because there is a lot of other things to be found for sure.

Bengt

Klaus Caprani · From: Copenhagen, Denmark

Thanks guys. You are a great help.
I'll see if it's possible to add a bellcrank and rod to the lever and connect it with the half-stop spring already in there.

------------------
Klaus Caprani

MCI RangeXpander S-10 3x4
www.klauscaprani.com

Jerry Hayes · From: Virginia Beach, Va.

The F# to G gives you a nice augmented (sharp 5) chord voicing when you're playing in B6th mode with the E's lowered to D# as the F# is the 5 of the B chord.

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Livin' in the Past and Future with a 12 string Mooney Universal tuning.

Bobby Lee · From: Cloverdale, California, USA

Now if I could just move my knee in both directions at once...

Herb Steiner · From: Spicewood TX 78669

Not to plug my own product

, but in my soon-to-be-completed Swinging on E9 course, you'd need the F# - G change on s.7 for the Eb#11 on the intro to "Night Life."

I don't know if it's been mentioned above, but it's also used to get a minor 3rd note with the root on the s.8 for more extended minor chords, like m6th's...

There's more I'm sure.

Also for sus4's with the root on s.9...

Also for the root tone with the triad on s.7, s.9, s.10, and extended chords on higher strings.

S.1 F# - G is essential for playing Ralph Mooney solos.

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Herb's Steel Guitar Pages
Texas Steel Guitar Association

[This message was edited by Herb Steiner on 29 November 2004 at 11:32 AM.]

Russ Wever · From: Kansas City

Here's a Brisklick of 'Descending Half-Scales' with raising the 1st string >

Click > Descending Diatonic Tetrachords

and > Here

~Russ

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