Lloyd Green/Tommy White: “Variations of a Theme: Part 1�
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Charley Hill
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Lloyd Green/Tommy White: “Variations of a Theme: Part 1�
https://www.youtube.com/watch?v=Q78jWwo ... tion=share
“Variations of a Theme: Part 1â€
Written by Tommy White and Lloyd Green
Tommy White and I wrote this tune, but mostly Tommy and it’s virtually all his melody. More importantly than this beautiful melody though is the fact that around 50% is played with pedals B and C and the knee lever lowering the 2nd string a half and whole tone, and the E to F lever. The strings are mostly 2, 4 and 6.
This is a wholly new concept of how to use the pedals and strings on the E9th. It gives different voicing to the normal triads played, with the melody often being on the 2nd or 3rd rather than top string and no 3rd string is involved in the new segments of the tune. When playing it much will be counter-intuitive and mirror imaged, which initially was confusing to both Tommy and me, unusual in itself. I’m only putting this out there because Tommy and I wanted to add some missing elements and dialog to the language of the E9th tuning.
Russ Pahl played the rhythm guitar, the only other instrument, and produced and mixed it.
Lloyd Green
“Variations of a Theme: Part 1â€
Written by Tommy White and Lloyd Green
Tommy White and I wrote this tune, but mostly Tommy and it’s virtually all his melody. More importantly than this beautiful melody though is the fact that around 50% is played with pedals B and C and the knee lever lowering the 2nd string a half and whole tone, and the E to F lever. The strings are mostly 2, 4 and 6.
This is a wholly new concept of how to use the pedals and strings on the E9th. It gives different voicing to the normal triads played, with the melody often being on the 2nd or 3rd rather than top string and no 3rd string is involved in the new segments of the tune. When playing it much will be counter-intuitive and mirror imaged, which initially was confusing to both Tommy and me, unusual in itself. I’m only putting this out there because Tommy and I wanted to add some missing elements and dialog to the language of the E9th tuning.
Russ Pahl played the rhythm guitar, the only other instrument, and produced and mixed it.
Lloyd Green
Last edited by Charley Hill on 25 Dec 2015 1:08 pm, edited 4 times in total.
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Chris Templeton
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That's the best song in ages!
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Tommy White
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Only Lloyd could relate my small contribution of ideas on this melody so beautifully, and it means so much to me for Lloyd to give me such credit.
Now, I must say, my contribution to the melody was constructed from ideas in a way of playing taught to me by Lloyd through the years. Virtually every idea for the melody is tied to Lloyd's unique way of playing in what I've come to refer to as "tensioned reverse positions", which obviously expands the E9th tuning, opening possibles not played in this way before that I know of. Wow, he played the entire song employing this method!
I think one of the very best exhibitions and examples of what can be done on the E9th I've ever heard. Thank you so much Lloyd! Also, thanks to my friend Russ Pahl for making this recording happen and for his great guitar playing and musical expertise.



Now, I must say, my contribution to the melody was constructed from ideas in a way of playing taught to me by Lloyd through the years. Virtually every idea for the melody is tied to Lloyd's unique way of playing in what I've come to refer to as "tensioned reverse positions", which obviously expands the E9th tuning, opening possibles not played in this way before that I know of. Wow, he played the entire song employing this method!
I think one of the very best exhibitions and examples of what can be done on the E9th I've ever heard. Thank you so much Lloyd! Also, thanks to my friend Russ Pahl for making this recording happen and for his great guitar playing and musical expertise.
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Charlie McDonald
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robert kramer
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This is probably wrong but at least I’m trying!
They’re in F.
(with 2nd string lowered 1/2 step)
3 pickup notes start:
Hit 1st fret 5th fret
Slide to 3rd fret
Hit 2nd string (lowered 1/2 step )
and then hit 4th string
Then with B&C pedals down and 2nd string still lowered 1/2 step
and hit strings 2 - 4 - 6 for the F chord
Then (with B&C still pedals down and 2nd string still lowered 1/2 step)
Hit string 4 and slide note to 5th fret
Let off on the pedals but keep the 2nd string lowered 1/2 step
At the 5th fret hit strings 2 - 4 - 6 for the A7 chord
This is as far as I’ve gotten (or may ever get!)
They’re in F.
(with 2nd string lowered 1/2 step)
3 pickup notes start:
Hit 1st fret 5th fret
Slide to 3rd fret
Hit 2nd string (lowered 1/2 step )
and then hit 4th string
Then with B&C pedals down and 2nd string still lowered 1/2 step
and hit strings 2 - 4 - 6 for the F chord
Then (with B&C still pedals down and 2nd string still lowered 1/2 step)
Hit string 4 and slide note to 5th fret
Let off on the pedals but keep the 2nd string lowered 1/2 step
At the 5th fret hit strings 2 - 4 - 6 for the A7 chord
This is as far as I’ve gotten (or may ever get!)
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J R Rose
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Dale Rottacker
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As good as it gets... can hardly wait for part 2
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Chris Templeton
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Deleted
Last edited by Chris Templeton on 3 Dec 2015 1:21 pm, edited 1 time in total.
Excel 3/4 Pedal With An 8 String Hawaiian Neck, Sierra Tapper (10 string with a raised fretboard to fret with fingers), Single neck Fessenden 3/5
"The Tapper" : https://christophertempleton.bandcamp.c ... the-tapper
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I'm not at the same level as Lloyd or Tommy, obviously, but in my own personal studies I keep finding new things to do with strings 1 and 2. Stuff that's far outside the usual "licks" most folks quickly discover in that region.
I love this delicate voicing, Lloyd!
I love this delicate voicing, Lloyd!
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