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Topic: Paul Franklin lick question Bakersfield album |
John Goux
From:
California, USA
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Posted 30 Nov 2015 2:55 pm |
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I have a question about how Paul Franklin played this sequence on the Bakersfield album.
The song is "He Don't Deserve you Anymore". The key is F.
https://m.youtube.com/watch?v=Nv5hXzafdOc
Intro, 5 chord sequence starts at .09
Line in question is from :14 to :16
Solo, 5 chord sequence starts at 1:56
Line in question is from 2:00 to 2:02
At the end of the intro, and a similar part of the middle solo, on the 5 chord, he plays a great series of 4 descending licks on strings 3 and 5. The fourth lick ends on a major triad C,E,G on strings 6,5,4. (In the solo it is an open 5th on 6 and 4)
My question is what comes instantly after. It is 2 part harmony with the melody A, A, G, F, E resolving to F(scale degrees 3-3-2-1-7-1). The lower harmony part goes C, holds a Bb, and then resolves to A.(scale degrees 1-b7-resolved 3)
I think these 2 are played on strings 4 and 6 respectively.
In the middle solo, he adds more melody notes at the end, by going A,A,G,F,E,F,G,F.
I have found 3 ways to play this line, but the difficulty is getting to them quick enough with him holding the C,E at the end of the 4th lick. There is hardly a bit of air between the 4th lick and the line after. And there is blocking as well.
Here are 3 ways to play this line:
1. Use Str 4,6, pedals BC on frets 3, BC to fret 1, release C hold B, use lever to
lower Str 4 to major 7th, release to resolve to tonic.. In the solo he adds 2 notes so you use the lever and pedal C to get melody scale degrees 3-3-2-1-7-1-2-1.
On its own this is not bad, but getting to the BC, from a held AB, with little time in between is difficult for me.
2. Use strings 4 6, pedals A/F(E raise), starting at fret 4, down to fr 2, release F hold A at fr 1, lever to lower 4 to maj 7th, release lever and A pedal to resolve.
This is easier to get to from the previous AB, but a lot of bar movement at the end of the middle solo.
3. Using method #1 but on AB pedals instead of BC, use your right foot on the C pedal to raise the 4th string up to scale degree 3, going fret 3 ABC, fret 1 ABC, release C, E lower pedal for maj 7th, the end of has the added notes using C pedal and E lower combination.
These lines are all playable at fret 8 and 10 with string combinations of 5,8,9,10. Because of what is before and after, I think he is down near open position.
My problem is getting to any of these options fast and graceful enough. The easiest is the right footed ABC method. But at the end of a long AB sequence?
1. Is the most common.
2. Easiest to start, clunky to finish.
3. Sounds best but requires right foot in a long sequence.
I'm curious what you all think. How did Paul play this? How would you play this?
Thanks in advance, John |
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John Goux
From:
California, USA
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Posted 30 Nov 2015 4:09 pm
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For simplicity, I'm referring to the three ways to play that line as:
1. The BC method
2. The A/F method
3. The ABC method
All utilize the E lower lever.
Thanks, john |
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Jamie Mitchell
From:
Nashville, TN
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Posted 30 Nov 2015 4:41 pm
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just sat down with this.
that but you're talking about does sound like BC pedals to me, and I'm with you the difficulty of switch high from AB that fast, but you can switch to those pedals long before, in the third measure. then you're on BC the whole way down...ya know?
j |
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John Goux
From:
California, USA
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Posted 30 Nov 2015 6:09 pm
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Hey Jamie. So you think he's is using the BC pedals instead of AB on that entire descending sequence on the 5 chord? Is that something players do? It means rocking backwards from how we usually do it.
I'll work on that.
I think the telltale spot is the final note of that 4th descending lick. I thought it was a C major triad(the BC makes it a C6).but he might only be playing C,E on Str 6-5.
On the solo that preceding note is clearly C,G. If he is using the BC all the way down, he would need to get off the C momentarily to play that open 5th on Str 6,4. That is tricky but not any more so than these other ways to do it. And it leaves you in good position to hammer on the C on the 3rd fret.
John |
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mike nolan
From:
Forest Hills, NY USA
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Posted 30 Nov 2015 8:51 pm
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| I hear it as BC pedals and the AB switch isn't that bad if you do it early... And the BC rocking move is really something to investigate for other uses. The fact that Paul has the E lowers on the right knee helps too... |
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John Goux
From:
California, USA
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Posted 30 Nov 2015 10:08 pm
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I've read he has the E lowers in RKL. It could be an advantage here, I'd like to know if he moved them to the right side for the sake of the E lowers, or because he found better use for his LKR.
Either knee the E lower is doable with this lick. But I'm sure it is easier on RKL.
Thanks Mike!
J |
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Earnest Bovine
From:
Los Angeles CA USA
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Posted 30 Nov 2015 11:38 pm
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| John Goux wrote: |
(at 0:14, first beat of the last bar of C chord) I thought it was a C major triad(the BC makes it a C6).but he might only be playing C,E on Str 6-5. |
Yes, I say just C and E. So he could have used BC here and for the preceding 2 bars, but I don't think so. I think he just moved his foot rapidly to BC pedals just in time for the second beat. Note there is another way, moving the bar up one fret on beat 2, and using the F lever to play the A, then back to the third fret on beat 3, giving you an entire beat to move you foot to BC. That's probably how I would do it.
| John Goux wrote: |
On the solo that preceding note is clearly C,G. |
Yes.. again I think Paul just moves his foot fast. But another way is to play the open fifth C G on the down beat on strings 2 and 6, giving you lots of time to move that foot. |
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Earnest Bovine
From:
Los Angeles CA USA
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Posted 30 Nov 2015 11:39 pm
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| mike nolan wrote: |
| The fact that Paul has the E lowers on the right knee helps too... |
I would say it is faster if you have that pull on the left knee. But that's because I'm used to it. |
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Earnest Bovine
From:
Los Angeles CA USA
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Posted 30 Nov 2015 11:41 pm
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| John Goux wrote: |
| I've read he has the E lowers in RKL. It could be an advantage here, I'd like to know if he moved them to the right side for the sake of the E lowers, or because he found better use for his LKR. |
Paul was playing when steel guitars had only one knee lever. It lowered the E string (probably just the lower E, and possibly string 2 D# to D) and was available only on RKL. He got used to it and stuck with it. |
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John Goux
From:
California, USA
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Posted 1 Dec 2015 2:09 pm
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Ernesto de Bovino, muchas gracias!
I like the idea of using AB through the descending licks. Seems like there is time between any of them to switch to BC, so I will try it before the fourth lick. Then you are set for the line that follows.
I also like your other alternative, all AB then use the F lever for the second beat of that line to play the A note at the 4th fret, and use that opportunity to move your foot over to the BC pedals.
I often forget when I'm using A/F combinations, (or other combinations), that both pedals are not being used. I hit both pedals out of habit(or to prevent dissonant picking mistakes) and it is sometimes not necessary.
As for grabbing that open 5th C,G on Str 6 and 2 fret 4..my picking and blocking are not yet accurate enough to land that clean and get back to Str 6,4 fret 3 for the coming line. It is safer for me to stay on the same string combinations at these speeds. Maybe sometime soon. |
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John Goux
From:
California, USA
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Posted 1 Dec 2015 2:22 pm
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Since you guys did such a nice job with this....
I have a couple more questions about this wonderful performance.
1. The first 6 beats of the intro, after the swoop. I've found 3 different fingering combinations on different string sets. Anyone have an opinion on his fingering there?
2. At the beginning of the solo, the ascending line leads up to a note group at Fret 14 A/F pedals. Under that ascending line I think I'm hearing a static root. How did he hold a note and play that line above it? An open F on string 4?
Thanks in advance,
John |
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Jim Park
From:
Carson City, Nv
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Posted 1 Dec 2015 5:39 pm
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John,
Welcome to the world of trying to figure out PF licks. I was in a band when Don't Rock the Jukebox came out. During a rehearsal, the band leader looked at me and said" You can play that .......right?" I replied " If I could play that, I would'nt be sittin here talkin to you" I got a dirty look....... |
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John Goux
From:
California, USA
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Posted 1 Dec 2015 10:06 pm
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Jim, if I could play that I wouldn't be hanging out here!
This is a great way to learn the fingerboard.
And I'm consistently impressed by now deft PF is with his footwork.
I'm glad to be here. Thanks to everyone for the tips.
John |
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Earnest Bovine
From:
Los Angeles CA USA
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Posted 1 Dec 2015 11:52 pm
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| John Goux wrote: |
1. The first 6 beats of the intro, after the swoop. I've found 3 different fingering combinations on different string sets. Anyone have an opinion on his fingering there?
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Sound like mostly strings 568, 456, 345 like so:
| John Goux wrote: |
2. At the beginning of the solo, the ascending line leads up to a note group at Fret 14 A/F pedals. Under that ascending line I think I'm hearing a static root. How did he hold a note and play that line above it? An open F on string 4?
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I don't hear an F in there nor anything at fret 14. Maybe like this:
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Jim Park
From:
Carson City, Nv
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Posted 2 Dec 2015 11:43 am
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| I have a little different approach than Earnest does on the intro, I think that the swoop is on just 5&6 and needs to have the A pedal added during the swoop so that at fret 11 its 5,6 with A pedal then to string 2, then the ascending scale is in just pairs ie: strings 45 and 34. When the scale gets to 34 then jump on the BC pedals. I think you can hear the pedal and lever articulations better in pairs, rather than triads, although Paul is a master at pretty much any string combo |
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