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Topic: 9th string, D to Db lower uses? |
Tim Russell
From:
Pennsylvania, USA
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Posted 30 Jul 2017 4:17 am |
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Other than an ending run that I sometimes use, I don't seem to do very much with this change. Anyone have any examples, videos that feature this common change on almost all guitars?
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Sierra Crown D-10 |
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Richard Alderson
From:
Illinois, USA
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Posted 30 Jul 2017 5:11 am
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I like to lower the ninth string D string a half step down to C#, which I use in combination with the E lowers to do faux C6th (B6th actually) style. All my old 8 string straight up C6th no pedals stuff I used to play, these days I engage the E lowers and the D string lower and just play straight up C6th with those two knee levers engaged, and no other pedals. It eliminates the dissonant D string. Course I have only got one neck. You have got a double neck, so you have got all the C6th you could ever want, but that's one of the main things I do with mine is B6th no pedals work. There are also some two string harmonized scales that use the 9th string D half step lower in combination with the 7th string.
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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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Lane Gray
From:
Topeka, KS
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Posted 30 Jul 2017 5:25 am
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There are plenty of uses for the 6 tone in melody, and there's also the cool tritone resolution when you hit 6 and 9,abd simultaneously press the B pedal and lower the 9th.
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Erv Niehaus
From:
Litchfield, MN, USA
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Posted 30 Jul 2017 6:17 am
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| I took it off my guitar. |
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Lee Baucum
From:
McAllen, Texas (Extreme South) The Final Frontier
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Posted 30 Jul 2017 6:52 am
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Are you looking for ways to use that change in runs or in chords?
To me, that C# is much more useful in the voicing of chords.
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Lee, from South Texas - Down On The Rio Grande
There are only two options as I see it.
Either I'm right, or there is a sinister conspiracy to conceal the fact that I'm right.
Williams Keyless S-10, BMI S-10, Evans FET-500LV, Fender Steel King, 2 Roland Cube 80XL's,
Sarno FreeLoader, Goodrich Passive Volume Pedals, Vintage ACE Pack-A-Seat |
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Jeff Mead
From:
London, England
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Posted 30 Jul 2017 7:33 am
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I mainly use it in conjunction with the A&B pedals to get my familiar 6 string A6 tuning on strings 4-9.
If I find myself getting into deep water, I can go back to safe territory until I get my brain back into gear. |
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Greg Cutshaw
From:
Corry, PA, USA
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Herb Steiner
From:
Spicewood TX 78669
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Posted 30 Jul 2017 5:13 pm
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Very handy to have for a minor 7th chord...
| Tab: |
s.5 B b7
s.6 G# 5
s.8 E b3
s.9 C# root |
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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? |
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Brett Lanier
From:
Madison, TN
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Posted 30 Jul 2017 8:00 pm
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A quick and easy one.
Play strings 9, 6, 4 at any position.
While letting that ring, engage your ninth lower and B pedal. (Sometimes it helps with the tuning of the 4th string if you hit the A pedal too)
It's a V7 to 1 change. The contrary motion between the 3rd string raising and the 9th string lowering makes it sound cool. Also they are wide spread triads, which sound great. |
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Bob Hoffnar
From:
Austin, Tx
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Posted 30 Jul 2017 9:30 pm
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You can make the sound of a cow when you play "I'm A Truck" by Red Simpson if you play 9 and 10 with the A pedal and 9th st lowered. Comes in right at the 3 minute mark.
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Bob |
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Tony Prior
From:
Charlotte NC
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Posted 31 Jul 2017 3:39 am
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MP3 simple examples Resolving to the root chord ( I ) then resolving to the 5 chord (V)
http://tprior.com/9%20lower.mp3
Maybe I'm odd ball out but I don't think of playing with formal spelling of chords or position's never did. The music goes by way to fast for me. I think "big picture", thats all my mind can handle .
I am a position player, sure I can tell you all the formal names and stuff( mostly) but it's not important to me, as the late great Joe Pass said, play what sounds pleasing and good , the proper names of chords and scales is not near as important as the music, but we do have to know where we are headed or where we came from root wise.
MP3 above short and simple, basic phrases to get started if you have no idea what to do.
ex #1 resolve to the root AB in
3rd fret, peds AB in, C chord , playing down to the 9th then lowering 9 to resolve to the C Chord ( root ) , 9th lower is the same note as the 10th String , Ped A is already IN. Although not on the MP3, at the end of this phrase add the 10th string first release A, then press A, 9 and 10 are unison notes but 10 pulls up to the unison note. ( adds color)
followed by two C chords, natural at 8th fret and AB in at 3rd, as a reference.
EX #2
Resolve to the 5 chord (V) AB in then OUT
3rd fret AB in, C chord root, same as above, play down to the 9th string except 9 is already lowered before you get there. When you get to 9, release AB and release the 9th string which RAISES the 9th string. We are now sitting at the 5 ( V) chord which is open G at the 3rd fret .
Ex #3, exactly the same as #2 but at the very end add an A pedal press and release , 3rd fret 10th string, as a tag line.
IF we only think of this as a lower , no different than other pulls or releases we are missing half the fun .
IF we are only looking to find a chord with a proper name then we are gonna miss the music. Guitar players bend notes, they don't name them. They just create music out of a stock position.
As my late friend John Fabian once said to me , "think about what the Steel is doing , lever and pedal wise, before you just go crazy searching for the music. It's telling you where the music is".
But don't d feel bad, many B Bender players are in a rut because they are only thinking about PULLING the B string up, they have also missed that they can start a phrase with it already RAISED and can resolve the phrase by releasing the B Pull. Some thing here.
It works both ways . There a lot going on down there with 9 and 10 , 9 lower, 10 raise , lots of redundancy which creates many nice phrases for us,, but we gotta understand what those pulls are doing first.
seat time ! 
_________________
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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Frank Freniere
From:
The First Coast
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Posted 31 Jul 2017 7:04 am
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Tim, I had the same question a while back. I particularly enjoyed Dave Grafe's comment
in this thread. |
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Tim Russell
From:
Pennsylvania, USA
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Posted 31 Jul 2017 8:07 am
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ALL very good suggestions and information, thanks so much - especially to those that put a lot of effort into describing things. Tony/others -
Actually, Tony - I approach the instrument much like you. Theory is nice, but unless you are a pro, who has the time to learn all the formal names - just play so it sends shivers up your spine! 
I appreciate all of the info., and will work on incorporating it into my playing. Just goes to show that a person can play for years and get stuck in a rut of using the same moves/patterns all of the time.
The playing becomes automatic (muscle memory) and if not careful can lead to boring, repetitive playing, which is what I was doing with the 9th strings moves. (and probably other moves too)
_________________
Sierra Crown D-10 |
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Rick Schmidt
From:
Prescott AZ, USA
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Posted 31 Jul 2017 12:51 pm
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| It's great as a starter point for PENTATONIC and Blues related single note stuff. Think a whole step down and a step and a half up from open position. i.e. in G, play around frets one and six. Try using the A pedal in both of those spots. |
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