RKL - how to use this change?

David Dorwart · From: Orlando, Florida, USA

My new guitar has RKL change which raises string one to G#, string two to E and lowers string 6 to F#. I understand this is pretty standard but different from my Carter Starter which lowered Bâ€™s to Bb. I see I can easily change from I chord to V chord with this lever using 5-2-1 grip, but what are other practical applications for this lever?

Chris Brooks · From: Providence, Rhode Island

David, when you are in A + B pedals down position, that knee lever change should get you an A7 (at the 0 fret) with the Es in unison.

Chris

Bill Ferguson · From: Milton, FL USA

Play around.
This is one of the most versatile set of changes on your guitar.
However, you cannot grip 1, 2 and 6 at the same time while using this lever. (it will sound BAD).
So in effect you have one lever that performs like 2 different levers.

If you listen to anything current, you will hear the 1st, 2nd string change in almost every song.

If you watch any of my videos on YouTube, you will hear the 6th string change a bunch.
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Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Ian Rae · From: Redditch, England

The B pedal with the lever gives G (assuming the split is correctly set up) and does indeed give an A7. I use that lever a lot - I believe Buddy Emmons was responsible for its introduction as a 6 lower. The 1&2 change came later and is a good example of two changes in one where you would never play all the moving pitches at once. This principle goes way back to the very first lever which lowered 2 and 8.
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Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Ian Rae · From: Redditch, England

Sorry - we were at cross-purposes. You're quite right that strings 1&2 would give Amaj7. I only raise 1 to G and I use the 6th string split a lot, so that's why I was thinking G natural Smile

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Cappone dAngelo · From: Vancouver, BC, Canada

I use the 6th string G#->F# change for several things:

1. as noted above, to get the dominant 7 chord with pedals A+B down (on 6-5-4, for example, A/C#/E -> G/C#/E)

2. for the classic 'sus2 resolving up to the major third' lick (on 8-6-5, for example, E/F#/B -> E/G#/B)

3. for lowering the major third to the minor third (on 8-6-5, for example, E/G#/B -> E/G/B)

4. as half of the 'Franklin pedal', but split into 2 different changers for more options (my B->A change is on P0)

I suspect many players do some or all of the above using the 7th string F#->G# change, but I personally find it more useful on the 6th string, in part because it allows me to go all the way from F# to B on string 6 (my LKV level raises string 6 by a minor third) which accommodates voice leading I wasn't able to do with just the string 7 change.

Andrew Frost · From: Toronto, Ontario

Lots of nice unison sounds with the string 1 whole tone G# raise... It also adds a high 13th to the B7( Es lowered w/ B pedal). A nice I to IV move is pedals down at 14, B major. Work your way down to position 12, pedals still down, and then lower Es while raising string 1 up a whole tone. Resolve to E at fret 12. Dickey Overby does this in his version of 'We Could'. Its a killer move that also works in a V to I capacity. The ear picks up on the maj7 sound on string 1 against pedals down, but its really a dom13.

Jim Fogarty · From: Phila, Pa, USA

I love ending a solo (or song) on a major key song in the open position, picking 4 and 3.....let them ring......then pick 1 and 2.....let them ring, dissonantly......then RKL to resolve 1 and 2 to a unison with 3 and 4.

Fred Treece · From: California, USA

I guess weâ€™re just assuming there is a split on string 6? Unless there is, as Bill Ferguson said in his response, the B pedal probably pulls string 6 hopelessly out of tune with this lever engaged.

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Richard Alderson · From: Illinois, USA

Dear David, Hey congrats on the new GFI, Many Happy Returns ! On the RKL configuration that you describe, I always considered that to be like â€œtwo pedalsâ€ in one; Two totally different operations that donâ€™t interfere with one another, but which have separate functions. Just engaging that lever and raking across all strings at once, its not a single tuning;, its two operations, one for one thing, and the other for a completely different use.

On one hand this lever raises both chromatic strings at once, that is a unique change right there. Those first two string raises, F# to G# on 1 and Eb to E on 2; those are power chords, just engage that lever, RKL, strike any of those two strings , or both at once and release the lever, resolving into F# and Eb, and strike strings 3 & 4 again, itâ€™s a portal to infinity, just on those four strings alone;

Then for the G# to F# lower, here is a completely different single note use , using the bottom 8 strings and not touching either of the two chromatics. Its a descending C scale in thirds incorporating the LKR G#-F# lower. On the chart below E is the E flat knee lever lowering Es; F is the RKL lowering G# to F# (and raising the 2 chromatics). Strike the first pair of notes, engage both levers and slide into the next two pair of notes. 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; strike the 7th pair of notes, then release the A pedal and engage Eb knee lever. The simultaneous lower of E knee lever left, and RKL G# to F# lower produces a basic C scale position, so with those scales of course, you can build anything.

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