7 th rasie?

John Cox · From: Texas, USA

Who uses this rasie and how would you use it?I've added it though it dosen't sound quite right.
Thanks
J.C.

Erv Niehaus · From: Litchfield, MN, USA

Are you raising it a whole tone or just a half tone? I raise mine a half tone and with the A & B pedals down, the half raise will give you a 7th chord.
Erv

Jody Cameron · From: Angleton, TX,, USA

I raise mine a whole tone for a pedals-down Maj. 7th.

C Dixon · From: Duluth, GA USA

Yes there are two separate raises associated with the 7th string:

1. Raise 1 and 7 a half a tone.

2. Raise 1 and 7 a whole tone and raise 2 a half a tone.

The former has been with us for many years. I have no idea who created it. And it is used in two basic ways:

1. A 7th chord as the poster said.

2. As Lloyd Green does it, ie, he raises the 1st string and then slants the bar to raise it another half tone to embelish certain classic licks of his.

The latter is strictly a Paul Franklin inovation. You will hear all three of the raises in many many recordings over the last few years. He uses them alone or in combination with other changes. And it is fast becoming a

"I gotta have it!"

carl

Rainer Hackstaette · From: Bohmte, Germany

John,

a halftone raise on string 7 (and 1) gives you an A7 chord with pedals A+B. Without pedals you get an E minor chord on strings 10, 8, 7, 5, 4, (and 1).

A whole tone raise on string 7 (and 1 plus 2 to E) gives you an Esus2 resolving into E major, just as holding the B pedal down and rocking in and out of the A pedal (Asus2 to A major).



      Esus2  E            Asus2  A





5-----0------0----   4-----0-----0----


6-----------------   5-----0-----0A---


7-----0------0##--   6-----0B----0B---


8-----0------0----

(## = whole tone raise)

or resolving a B chord (V) to an E chord (I):



      B      E


4-----0b-----0----


5-----0------0----


6-----------------


7-----0------0##--

(b = half tone lower)

Rainer

------------------
Remington D-10 8+7, Sierra Crown D-10 gearless 8+8, Sierra Session S-14 gearless 8+5, '76 Emmons D-10 8+4, Peavey Session 400 LTD

Marc Friedland · From: Fort Collins, CO

I play an E9 S10 3 & 5, and my RKL raises the 1st string a whole note to G# and the 7th string a half note to G. Obviously, I never play them both at the same time. On the 7th string change, in addition to the 7th chord already mentioned, I also have found the following less common use for it.
Strings 6, 7 & 9 with the G#-A pedal engaged, is a "D" chord. If you engage the 7th string half/note raise KL, you get the sus4, that you can go back & forth with.
Another uncommon use is with strings 5, 7 & 9 you have a "Bm" chord, and when you engage the F#-G KL, it will change it to a "G" chord. I just woke up, so I hope I expressed this clearly enough. -- Marc

John Cox · From: Texas, USA

I raise the string a 1/2 tone, otherwise I could acomplish the same thing with the 6th string lower and that's why I'm condfused.
J.C.

Bengt Erlandsen · From: Brekstad, NORWAY

The half-tone F#-G on 7 is on one of my guitars.
Apart from making the dom7th for a chord in A+Bposition I also use it for the minor chord in open position (playin str 8 7# 5 instead of str 8 6 5)
Also use it together w B pedal for a minor pentatonic scale(open position)
Or at 4th fret, dom7 w a 9 or a b9 on top



     G9  G7b9  G7  C7


1---------------------- 


2---------------------- 


3---------------------- 


4----4R---4----4L---3-- 


5----4A---4A---4A---3A- 


6---------------------- 


7----4R---4R---4R---3R-

Many other things that one can use that change to also.

Bengt Erlandsen
ZumSteel S12 7+7 E9ext
JCH D10 8+8

[This message was edited by Bengt Erlandsen on 03 October 2003 at 02:22 AM.]

C Dixon · From: Duluth, GA USA

John,

You wrote, "I raise the string a 1/2 tone, otherwise I could acomplish the same thing with the 6th string lower and that's why I'm condfused."

That is a common confusion. This has happened on the pedal steel guitar since its inception. IE, why lower string 4 to a D# when the 2nd string is already a D#?

The answer is quite simple. In many musical applications it is NOT the note that is as important when playing the PSG. It is how you got there and where you are going after you play the note. The PSG's ability to play a "moving tone" helps make it the world's most beautiful instrument.

So the fact that you lower your 6th string to a G, does not suggest that there are not a whole bunch of times that one would need to RAISE the 7th string to that identical note.

Let me give you an example. On a U-12, most raise the 9th string to a D. This is because on universals there is no D note in the tuning. So they raise the 9th string to a D when playing E9th sounds. And this works great. However they also lower the 8th string to a D.

Why?

Because there are times one wishes to come up to a dominant seventh and yet other times music calls for us lowering in to the dominant.

This is true of music in many situations. So the fact that one has a given note on one string does not mean we may not need that same note on another string at one time or another.

The best of all worlds would be if EACH string could be raised AND lowered a half tone; a whole tone; and a tone and a half. This is not practical today. But we have been headed in that direction since the PSG was created. And one day that is precisely what will happen, IMO.

If one doubts this, simply analyze the PF pedal and the PF knee lever. Why is he raising AND lowering strings to notes he already has on other strings?

Hope this answers your question,

carl

[This message was edited by C Dixon on 03 October 2003 at 08:04 AM.]

Bobby Boggs · From: Upstate SC.

Carl wrote:

"it is NOT the note that is as important when playing the PSG. It is how you got there and where you are going after you play the note.

That pretty much sums it up

---bb

John Cox · From: Texas, USA

Thanks guys, I'll have a chance to try this tonight on stage.

J.C.

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