revisiting the E9th Universal for more Jazz inclined playing

J D Sauser · From: Wellington, Florida

I had "retired" from PSG in 2001 when moving from the US to Europe, packing with me "just" a (few) Rickenbacher Lap Steels. And to be true, I didn't play much and got into "Gypsy"-Jazz Rhythm guitar and Bosa Nova (finger-picked) and well, learned a lot about progressions, chords and Jazz and Swing... but must admit that I have not laid my hands much on any thing horizontal except for a few "Ladies".

I got a beautiful S12U from MSA now and swore not to try to play much of what I had played in the past but to take it from where I am now on Jazz Rhythm and Bosa Nova Guitar.

I looked up a lot of Youtube. Evidently the Jazz side is still "under-populated" but the are great things by "our" Jim Cohen, Mickey Adams, some old stuff by "our" late Bobbe Seymore and evidently a new and exciting push by PAUL FRANKLIN.
I can't say how much I MISS my friend and mento MAURICE ANDERSON, whom I could call, go see and just ask "what's this?" and get a clear concise no BS answer with lot's more than what I asked for.

I am somewhat thinking over my S12U set up.
I want to keep it E-neutral (E9th open)... because I seem to base my chord location more easily off the 11th string as it relates to E9th and to the standard guitar.
I DON'T lock my E-lowers! I think as one tuning.
But even tho, "we" have many of the added pulls on the Universal C6th players have on the their neck but placed on levers... many combinations are impossible.
I also seek a way to add a B-to-C (C to C# on C6th) change so that I can play it in combination with the "5th" pedal (the 2 below 9th chord change) to not just create another 6th chord midway between the open 6th and the open M7 7/5 frets apart, but to create another relative minor "midway" so the get vim, iim, V, I "clouds" closer together.

I have decided to sacrifice the "C" pedal, I was never that kind'a E9th player... I play along the strings much more than across the strings and favor fat or wide chord vocabulary over the largest amounts of string over "moving string gimmicks".

I am toying with replacing the "C" pedal with a B-to-C pedal to the right of the "B" pedal and the left of the so called pedal "5"... so I can play them together and have my levers (G# to G Vertical, B-to-Bb LKR, B-to-D LKL my E lowers and raises on the RKs) at disposition.

I want to keep A&B because I like it for "flowing" 2-string harmony ALONG the strings and I love the treble string A6th groups sounds and their combinations with the levers, especially for Big-Band Swing sounds. And again, I organize ALL off the 11th string. To me it's "E" either way... E9th without the E-lower, EM7 with it and then all unfolds left and right to it.
Actually, if you play JAZZ or even Bebop... vi, ii, V, I or a fraction of it, you IM will seek tp be M7 rather than 6th.. because too many non-steel players the 6th note sounds like the root to a minor chord. Maurice also urged me to limit my use of the 6th chord to the "swinging" minimum "WHY are you playing that MINOR again, JD?!"

My current setup is pretty straight forward Jeff Newman U12E9.

I am looking for suggestions and thought from like minded S12U players.
_________________
__________________________________________________________

Was it JFK who said: Ask Not What TAB Can Do For You - Rather Ask Yourself "What Would B.B. King Do?"

A Little Mental Health Warning:

Tablature KILLS SKILLS.
The uses of Tablature is addictive and has been linked to reduced musical fertility.
Those who produce Tablature did never use it.

I say it humorously, but I mean it.

Dave Hopping · From: Aurora, Colorado

Sometimes it's just easier to get an extended chord with KLs rather than moving my left foot over to the B6 side. The "Night Life" intro is a good example.

J D Sauser · From: Wellington, Florida

Forum Index > Pedal Steel		Next oldest topic :: Next newest topic

All times are GMT - 8 Hours	Jump to: