Ryan Barwin
From:
Hamilton, Ontario, Canada
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Posted 26 Apr 2010 2:03 pm |
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Arne,
The F# to G# pull has some cool licks, but it's most useful harmonically when you've got the pedals down...you get an A major 7 chord, with the root (A) on the 3rd string, third (C#) on the 5th string, fifth (E) on the fourth string, and seventh (G#) on the first string. The close interval is really nice.
The F# to G# pull is a lot more useful when you're also pulling the 2nd string from D# to E, because the D# (or Eb) is a b5, and doesn't fit harmonically, so you have to avoid it. Also, with both those pulls, you can do a nice change from the third (D# on the second string) and fifth (F# on the first string) of the 5 chord (B major) to the root (E) and third (G#) of the 1 chord (E major).
On the seventh string, the F# to G# pull is useful for changing from the 5 chord (B major) to the 1 chord (E major). The grip is 10-8-7, and you start with just the E lower (4 and 8 ) lever engaged...you have B, D#, F#...the root, third, and fifth of B major. Release the lever and you have a Bsus4 chord...B, E, F#. Then engage the F# to G# lever and you have an E chord...B, E, G# (fifth, root, third). It's like having the A and B pedal changes, but lowering into it from the open position.
Depending what kind of music you play, you may find the F# to G change more useful. With the pedals up, the G is the minor third of the E chord, so you can do lots of cool bluesy stuff with it. With the pedals down, you get an A7 chord, because the G is the b7 of A. Lots of stuff that can be done with that too. Also, G is a new note...there's not another way to get that note without moving the bar. It's very useful harmonically (both for the minor third of E, and the flat seventh of A, and the changes between them), and there's some cool licks you can do with it. You hear that change very frequently in more classic country E9th steel playing...like Lloyd Green style stuff especially.
The best option is if you can get another pull for your guitar, for the second string D# to E pull. That way, you can tune 1 and 7 to pull to G#, and you should be able to time the second string pull to start halfway through the 1 and 7 pulls, so you can have a half-stop at G. Then you get both. If not, try both changes and see what you like better. Anyway, it's quick to retune those pulls anytime you need to, and even possible to do it during a gig.
Hope this is helpful.
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www.pedalsteel.ca |
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John Groover McDuffie
From:
LA California, USA
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Posted 27 Apr 2010 9:58 am
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I, and some other players I know, pull the 1st string to G and the 7th string to G# on a KL. With proper set-up I get a 1/2 stop G on the 7th string. I use this a lot!
It would be nice for some licks to be able to pull the 1st string up to G#, but I would need a feel-stop kit so I could still get the 1/2 stop G on the 1st & 7th strings. Plus that 1st string F# to G# is a long pull! |
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