C6th Players: slight different standard setup

Sigi Meissner · From: Duebendorf, Switzerland

The pedal 8 of my Emmons creates the standard
emmons setup: c to a, f to e, c to c sharp. But I have also an up lever that raises once again the lower c to c sharp and the upper c to c sharp which I really often use. My Idea was to avoid the unnecessary redundant function and raise with pedal 8 the upper c and do without the up lever
I know the standard setup creates a nice 7th sharp 9 chord but what else speaks against changing the wholy emmons setup?
Jeff Lampert, what is your advice?

CrowBear Schmitt · From: Ariege, - PairO'knees, - France

Hallo Sigi

i would keep the C to C# on string 3 (& string 7 if you choose that option) on that knee lever rather than join it up w: P8.
P8 without that C# raise gives that nice BE minor chord (Hold it)
the Lord knows we need minor chords !
in conjunction w: P6 that C to C# raise makes a nice augmented or +5 chord

Maceo !?
i need some help now

John Steele · From: Renfrew, Ontario, Canada

The same voicing for the 7#9 chord (A7#9 at the open position) is also Eb13.
Would hesitate to tie together both C-C# raises, as you lose the dissonance that defines these chords.
You'd also be unable to use it for the lovely Bill Evan-ish voicing for a 7b9 chord:

Eb7b9
1------
2--0---
3--0---
4------
5--0---
6------
7--0(8-
8------
9------
10-----

and a few other things.
Not that the third string raise wouldn't be nice to have (I haven't got it...yet), but I'd keep it seperate. Just MHO
-John
p.s. Crowbear, the natural third created by raising string 7 means that ain't no Minor Chord.

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www.ottawajazz.com

[This message was edited by John Steele on 26 June 2006 at 11:06 AM.]

David L. Donald · From: Koh Samui Island, Thailand

Best way to tell what you like
Hit the boowah pedal.
strum out slowly some big chords,
and try different grips.
Then add your vertical
and do the same.

If you don't miss the octave min3/#9
C on top of the A chord
redo your C# lever.

I had this written out last night,
but forgot to submit it.(tired/late)
John states it all rather well.

A 13 series is not so unlike Don Helms classic tuning.
Try p[icking like a lapsteel with just P8 for 20 minutes and see what comes up.
occasionjally adding the upper C#

[This message was edited by David L. Donald on 26 June 2006 at 08:09 PM.]

CrowBear Schmitt · From: Ariege, - PairO'knees, - France

yer right John
i should have mentioned omitting string 7 on P8

Bill Cunningham · From: Atlanta, Ga. USA

John,

I am glad you pointed out the 13th chord option with P8. It doesn't seem to come up very often, with all this emphasis on BooWaa. For me using P8 as a 13th voicing of the 5 chord, such as G13th on fret 4 (there may be a different proper technical name for this) has become indispensable.

I'd definitely keep this change over adding something to make the the One Note Samba chord

A few of us around Atlanta adopted a variation of pedals attributed to Atlanta steel legend Mac Atchison. I have pedal 8 on the C neck's LKL close to pedal 5. The C raise is on the 8th pedal with a couple of other misc. pulls that I can't name right now.

Thanks,

BC

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Bill Cunningham

Jeff Lampert · From: queens, new york city

Hi Sigi,

I would agree with others posters on this thread. The open position A7#9 and Eb13 chords are very important jazz voicings.

Also, the surrounding notes on other strings add many jazz-related extensions.

For example, at the open position A7#9, two-footing with pedal 6 rasies the 2nd string to F, giving you a b13 (#5). The 4th string A note raised with the A->Bb knee lever gives you the b9. If you two-foot the chord with pedal 6, you get a D# on string 6, the #11 (b5) note. I lower the 9th string a whole tone on a different lever, so I have the #11 in the bass as well. And all of this has the A note (boo-wah) root.

If you look at it from the Eb13 point-of-view, then the 2nd and 6th string E is the b9, two footing with pedal 6 gives you F on string 2, the 9th. The 4th string and 8th string A is the #11.

The combinations of these extensions/alterations and their use in playing harmony, runs, voice-leading, etc. is significant IMO, at least with respect to my personal style. Thanks for asking. .. Jeff

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[url=http://www.mightyfinemusic.com/jeff's_jazz.htm]Jeff's Jazz[/url]

Sigi Meissner · From: Duebendorf, Switzerland

Thnx Jeff and the other forumates for these
convincing statements. As a Jazz oriented
musician I will shure keep the P8 like it is.
This set up is really hard to beat.

Earnest Bovine · From: Los Angeles CA USA

Pedal 8 lets you play an A9 chord (not +9) when you also lower the high C to B with a knee lever. You would not be able to do this if you raise the high C with pedal 8.

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