F# to G raise

Robert Murphy · From: West Virginia

My GFI Expo came with the standard setup except RKL raises strings 1&2 but instead of lowering string 6 it raises string 7 from F# to G. I struggled to grasp the concept until I pressed the A&B pedals, engaged the RKL and got a Dominant 7th chord. I like it! How many of you use this change?

Ron Pruter · From: Arizona, USA

Rob, some peeps like raising it to G# as you stated in your subject line. I pull to G#. You get a major 7th chord. I also have a half step feel stop on that pull so I get what you mentioned, the Dom. 7th and the prettier major 7th. I would also put the first string(same note, octave higher) on that lever.Enjoy-Ron
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Dale Rottacker · From: Walla Walla Washington, USA

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

Been raisng my F#s to G for 50+ years. That was considered a "standard" change back then. It was often what builders put on the 4th knee lever at the factory.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

D Schubert · From: Columbia, MO, USA

Had that same change on a Dekley and a a Sho-Bud, both made in the 70's.
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Michael Hill · From: Arizona, USA

I believe B + RKL split to get G on 6 is more common. On a GFI the split is done with an additional pull rod.

Nathan Golub · From: Durham, NC

That change opens up some very useful chords and positions. In addition to a dominant 7 with A+B, I've found that change to be very useful when using the 9th string as the root note. It's a nice way to get I-IV-V changes two frets up from the no-pedals position with some cool extensions. And in combination with the A pedal you can get a minor 11th at what would normally be the no-pedal major chord position.

Barry Anderson · From: Nevada City, California, USA

I have that change on both 7 and 1, and I love it.

I just discovered that using the same grips that I would use for a major chord with the Es lowered, I get a minor at the root position (8th fret for C).

But more importantly, it gives me access to easy chromatic runs in both open position and pedals down. In open it gives allows you to play with the 2 / minor 3rd, and in pedals down, it gives you that maj 6 -> dom 7th.

I love that stuff, so the change is staying.

Roger Rettig · From: Naples, FL

Another vote for raising the 7th to G#!

I find I can easily half-pedal that KL (my LKL1) if I want the dom 7th with pedals down.

Raised to G#, there's a lovely maj 7th with a pleasing dissonance between the 7th and 6th strings. In my opinion, this change is more versatile than the more-commonplace 6th lower split with the B pedal.
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Andrew Frost · From: Toronto, Ontario

makes a very nice min11 at root position with B pedal down, as alluded to in the thread.

John Hyland · From: South Australia

This is a confusing thread. F# to G or to G#

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

Roger Rettig · From: Naples, FL

That's true, Richard, but half-engaging my 7th string-raise with pedals down does give me the dominant seventh.

Another benefit is having the whole-tone raise at the 'no pedals' position: the equivalent of the bend we get with our A pedal.

I also have the very pleasing option of the maj 7. If I simply lowered 6, that wouldn't be available.

John:
I believe the thread initially focused on either raising the 7th or lowering the 6th. It's got diverted along the way but that's still the basic question. For me, it's far better raising 7.
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Bob Carlucci · From: Candor, New York, USA

I don't like the F#to G on its own..I pull the first string up a full tone.. However, over the decades, I have found that I actually use the F# to G change quite often, but actually just "half pedal" the F# to G# lever . Over time it became very natural, and in tune, and I didn't have to "waste" a lever to get it... bob
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Roger Rettig · From: Naples, FL

Exactly.
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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