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Topic: C6 -- P5, P6, P7 Together |
Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
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Posted 28 Jun 2017 4:07 pm |
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You see players play with two feet pressing all 3 of these pedals (5,6,7) at one time. What chords or licks does this give you?
_________________
Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, NV400, NV112 . Playing for 54 years and still counting. |
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Jeff Harbour
From:
Western Ohio, USA
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Posted 29 Jun 2017 4:33 am
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With P5+P6 being a D7b9 (open position), P7 makes it a D13b9. I'm not imagining that P7 does much benefit when P5 & P6 are used as a dim7 chord, which is a more common use than a 7b9.
Adding in P7 is probably more about moving a melody around within the chord. |
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Greg Cutshaw
From:
Corry, PA, USA
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Jeff Harbour
From:
Western Ohio, USA
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Posted 29 Jun 2017 7:16 am
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In Greg's example, the 5-6-7 combination is creating a B7#9 Chord. Learned something new, I didn't know it would get that! Thanks Greg!
Greg's Chord sequence by numbers:
1Maj9 - 1Maj7 - 1dim7 - 57#9 - 57 - 5b7 - 1(6th)
Hope my analysis is accurate... |
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Jim Cohen
From:
Philadelphia, PA
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Jim Cohen
From:
Philadelphia, PA
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Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
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Posted 29 Jun 2017 10:30 am
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2 footing is not much of an option for me. With by back issues, I can barely lift my right foot off the volume pedal at all. I have pedal 7 on a knee lever.
_________________
Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, NV400, NV112 . Playing for 54 years and still counting. |
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Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
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Posted 29 Jun 2017 10:35 am
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Pretty cool Greg. I don't know where I'll use it, but it's cool and should be fun to learn.
_________________
Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, NV400, NV112 . Playing for 54 years and still counting. |
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John Alexander
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Posted 29 Jun 2017 4:27 pm
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Thinking of P5 and P6 as making a diminished 7th chord on strings 3 to 8, P7 provides harmonic color tones or melodic tones that can be used with the diminished chord, much as P7 is used with the no-pedal position or with just P6. And, P7 can be toggled on and off with the diminished 7th chord just as is done without other pedals or with just P6.
The notes provided by P7 are each a whole step above and a half step below the nearest notes of the diminished 7h chord, and therefore are contained in the related diminished scale (remember, a diminished scale just alternates whole-step and half-step: WHWHWHWH).
Because of this, the extra notes provided by P7 can be used as the diminished 7th chord is moved up or down the neck in 3-fret increments in the usual manner.
Because the diminished 7th chord also functions as a rootless dominant 7b9 chord, the above also provides a number of potential substitutions for dominant 7th chords that may work well in some contexts.
Each diminished 7th chord has four possible roots (each note in the chord), plus four possible roots as a 7b9 chord. Thus it's a little cumbersome to analyze and keep in mind what chord tones are added by P7 in each use of the chord, especially considering that the chords can be moved up or down in 3-fret increments. However, the use of P7 has a characteristic sound that isn't too hard to assimilate into one's musical vocabulary whether or not one bothers to learn the labels. |
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