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Topic: Examples of G#>F# Lower |
Gary Arnold
From:
Panhandle of Florida, USA
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Posted 8 Jul 2016 1:23 pm |
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| Could I get some tabs on using the G#>F# lower. I have it on my RKL along with 1&2. Thanks guys, trying to expand on this lever.,,,,,,,,,,,Gary |
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Pat Chong
From:
New Mexico, USA
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Posted 8 Jul 2016 7:24 pm
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Chords:
Use your RKL along with LKR (assuming that LKR is the one that lowers the Es) gives you a 5-Major chord on strings 4, 5 & 6, which resolves to 1 (no pedals position).
Use the same (RKL+LKR) for a 1-Major, followed by B+LKR (1-7th) that resolves to 4. (A+B position).
I'd have tabbed these out, but have not figured it out yet............  |
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Ian Rae
From:
Redditch, England
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Posted 9 Jul 2016 2:39 am
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Gary, I don't know whether you have tunable splits, but I use this change a lot with the B pedal (a) to get an Em chord and (b) to get an alternate major third between strings 6 & 5 which is sometimes easier to get to than the A/B equivalent.
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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Richard Alderson
From:
Illinois, USA
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Posted 9 Jul 2016 7:53 am
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Dear Gary - Here is a descending C scale in thirds incorporating the G#-F# lower. (The A pedal raises strings 5 & 10 from B to C, Emmons; E knee lever (LKR) lowers your Es to Eb; F lever (RKL)lowers the 6 string G# to F#). Strike the first pair of notes, let them ring, engage levers and slide into the next two pairs of notes without striking again. Same thing for the 4th pair of notes, strike the fourth pair of notes, slide down to the fifth pair and then engage knee levers without striking again; strike the 7th pair of notes, then release the A pedal and engage Eb knee lever (almost but not quite) simultaneously without striking again.
_________________
Derby SD-10 5x6; GFI S-10 5x5; GFI S-10 5x5; Zum D-10 8x7; Zum D-10 9x9; Fender 400; Fender Rumble 200; Nashville 400; Telonics TCA-500. |
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Ron Kassof
From:
Las Vegas, NV, USA
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Posted 9 Jul 2016 9:58 am
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I too am interested in learning about this change. In my limited experience with playing around with it, it seems to be useful in ascending major pentatonic licks starting on String 8. Like:
8(open) - 6(With the lower engaged) - 6(with lever released) - 5(open) - 5(with A Pedal) - 4(open) |
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Gary Arnold
From:
Panhandle of Florida, USA
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Posted 9 Jul 2016 11:34 am
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I do have the split your talking about.  |
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Pete Burak
From:
Portland, OR USA
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Posted 9 Jul 2016 11:43 am
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It basically does the same thing as the A-pedal.
Play a C-chord at the 3rd fret (3AB).
Play strings 4 and 5 together and rock off/on the A-pedal.
Now go 5-frets up to the open C-chord at fret 8.
Play strings 5 and 6 together and engage/release your G#-to-F# lever.
Same exact notes.
Now work it in all over the place  .
You can also start the lick with that lever engaged, then release it.
Here's one you can use as an ending or whatever:
Key of C, Strings 5 and 6 together...
8AB > 8 > 8(F#-lever) > 8. |
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Gary Arnold
From:
Panhandle of Florida, USA
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Posted 9 Jul 2016 11:59 am
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Thanks Guys, keep'em coming, Gary  |
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Gary Arnold
From:
Panhandle of Florida, USA
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Posted 9 Jul 2016 9:38 pm
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| TTT |
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Mike Perlowin
From:
Los Angeles CA
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Posted 10 Jul 2016 10:03 am
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A lot of people disagree with be about this, including players I respect and admire. But I think this change is unnecessary. I think there is very little that can be done with it, that cannot also be done by using the bar and the other pedals and knee levers. I had this change on my guitars, and took it off.
I think lowering the 5th string from B to Bb is a much more valuable change. I also think this change should be on a regular knee lever and not on a vertical.
_________________
Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin |
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Gary Arnold
From:
Panhandle of Florida, USA
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Posted 11 Jul 2016 2:43 pm
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| TTT |
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Gary Arnold
From:
Panhandle of Florida, USA
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Posted 11 Jul 2016 9:56 pm
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TTT   |
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Jeff Mead
From:
London, England
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Posted 11 Jul 2016 10:41 pm
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Another thing I like to use it for is, along with the A&B pedals to get a 7th chord on 456 568 or 6810.
Also sounds great squeezing the A pedal on and off when the lever is engaged.
Not sure if this works on all guitars but it does on mine.
Of course, it uses the same "trick" as the above example of raising the G# to A with the B pedal and then lowering it a tone to G with the lever. |
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Mark Hershey
From:
New York, USA
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Gary Arnold
From:
Panhandle of Florida, USA
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Posted 12 Jul 2016 7:51 am
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| Thanks Mark, a great post, Gary |
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Gary Arnold
From:
Panhandle of Florida, USA
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Posted 14 Jul 2016 6:19 pm
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| Send more if you have some, Thanks Guys , Gary |
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Henry Matthews
From:
Texarkana, Ark USA
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Posted 14 Jul 2016 9:23 pm
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Pete, I can't get your notes to come out the same as lowering the sixth a half tone. I didn't see what the notes were. It has a different sound. I lower the 6th a half tone on my push pull and have the half whole split on my all pull guitars. I call it the I Sang Dixie pull because I think that's what Tom used on that tune in the ride.
Hit 5&6 with pedals down on 7th fret, go up one fret and come of B pedal and at same time lower 6th and slide back to 7th fret. that I described was for a push pull.
On an all pull with tunable splits, just keep A&B pedals down and do same thing.
I use that pull a lot because it gives a nice 7th sound even if you don't slide up on fret and back. I'm just opposite Mike, I took B lowers off my 4 lever guitar because couldn't find much use for it like the 6 lower. To each his own I guess.
_________________
Henry Matthews
D-10 Magnum, 8 &5, dark rose color
D-10 1974 Emmons cut tail, fat back,rosewood, 8&5
Nashville 112 amp, Fishman Loudbox Performer amp, Hilton pedal, Goodrich pedal,BJS bar, Kyser picks, Live steel Strings. No effects, doodads or stomp boxes. |
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Tony Prior
From:
Charlotte NC
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Posted 15 Jul 2016 12:48 am
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Never overlook that we have many instances of redundancy. It's about the MUSIC thats laying in front of you and the spontaneity of the moment, not the formality of it all.
Like Henry, on the PP I have the 6 lower half tone but on the ALL PULLS I have the half /whole split. On paper they may appear to be exactly the same but in the real world they are not . As Elaine would say, they are exactly the same, just different !
On the 6 string guitar, we play ACROSS the neck, we don't jump frets unless we are changing relative positions. Same thing here, play what you got where you are. Who cares if you can get the same thing 4 frets up or back, or wherever. It's about the " musical flow".
IF we are thinking about where to play a similar "instance" somewhere else then it will be too late anyway, the moment will have come and gone.
We don't really need to be saying that one position is better somewhere else, it's really all about how WE individually approach things and make use of what we have. Now granted, one pull may be more comfortable in one position or another but thats based on individual preference and how our styles have been developed.
My wife likes the slow scenic route, I prefer the direct 80 mph route but somehow they both lead to the grocery store !
_________________
Emmons L-II , Fender Telecasters, B-Benders , Eastman Mandolin ,
Pro Tools 12 on WIN 7 !
jobless- but not homeless- now retired 9 years
CURRENT MUSIC TRACKS AT > https://tprior2241.wixsite.com/website |
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Pete Burak
From:
Portland, OR USA
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Posted 15 Jul 2016 7:33 am
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| Henry Matthews wrote: |
| Pete, I can't get your notes to come out the same as lowering the sixth a half tone... |
I am not sure what you are referencing, because I thought the original post was about the string-6 G#-to-F# lower.
I am also a big fan of lowering G#'s-to-G, but that would be a different topic/thread.
I am probably misunderstanding your post. |
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Charlie McDonald
From:
out of the blue
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Posted 15 Jul 2016 7:44 am
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| Mike Perlowin wrote: |
| But I think this change is unnecessary. |
Yeah, but it's fun if you can fit it in. I like it so much I have it on P1 with the p2 G split.
However, I'm only a hobbyist and have six strings. I did it for the easy V chord, but mostly the ability to hold the F# in suspension,
to resolve either major or minor. The particular steel sounds I like. |
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Henry Matthews
From:
Texarkana, Ark USA
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Posted 15 Jul 2016 8:38 am
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| Pete Burak wrote: |
| Henry Matthews wrote: |
| Pete, I can't get your notes to come out the same as lowering the sixth a half tone... |
I am not sure what you are referencing, because I thought the original post was about the string-6 G#-to-F# lower.
I am also a big fan of lowering G#'s-to-G, but that would be a different topic/thread.
I am probably misunderstanding your post. |
No you didn't misread, I did, I was thinking it was half tone lower. Sorry about that, I do that late at night, lol.
I use the half tone lower a lot but not the whole tone much, of course, my push pull has no whole tone lower.
_________________
Henry Matthews
D-10 Magnum, 8 &5, dark rose color
D-10 1974 Emmons cut tail, fat back,rosewood, 8&5
Nashville 112 amp, Fishman Loudbox Performer amp, Hilton pedal, Goodrich pedal,BJS bar, Kyser picks, Live steel Strings. No effects, doodads or stomp boxes. |
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