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Topic: String 7 raise applications on E9? |
John Orr
From:
Oregon, USA
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Posted 20 Oct 2018 6:11 am |
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| What are the applications of the F# raise at String 7 on the E9 neck? |
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Norman Evans
From:
Tennessee
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Posted 20 Oct 2018 6:24 am
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| Raising the 7th string F# to G gives you a 7th chord with the A&B pedals down. This is one good use. |
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Greg Cutshaw
From:
Corry, PA, USA
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Tom Gorr
From:
Three Hills, Alberta
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Posted 20 Oct 2018 6:36 am
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Oops... Wrong change.. Eyes must be getting bad
Last edited by Tom Gorr on 20 Oct 2018 5:24 pm; edited 2 times in total |
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Pete Burak
From:
Portland, OR USA
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Posted 20 Oct 2018 6:44 am
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If strings 865 are an open G at fret 3, strings 875 with the F# to G engaged is a G minor.
Very handy for changing any open chord to a minor cord.
As mentioned, With AB down, you change the AB down chord to a 7th chord when you add the F# to G.
You can work it into some nice ascending/descending half-step passing notes between the E, F#, and G#, strings.
I mainly use the F# to G on string 7 when I am doing Travis/Atkins style picking on the lower end of the tuning, to go in/out of 7th chords and passing tones.
The song Lookin Out My Backdoor by CCR comes to mind.
If you have it on the high F# string it also makes some nice ascending/descending E9th half-step passing notes between the high E, F#, and G#, strings when using E to F# on the C pedal, F# to G, and G# to A.
The song Lonesome LA Cowboy is a good example of using the high F# to G.
You can do the same licks on strings 678.
You can hear the high F# to G in the intro, the solo, and sprinkled throughout the song.
https://www.youtube.com/watch?v=fuQIuUVZr-8 |
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John Orr
From:
Oregon, USA
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Posted 22 Oct 2018 5:17 am
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| Thank you Greg. Can’t seem to play it on my I pad, but wil give it a try on my windows laptop. |
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Jack Stoner
From:
Kansas City, MO
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Posted 22 Oct 2018 6:02 am
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I was told Buddy Charleton called that his Ernest Tubb lever.
His strings 8, 7 raising 1/2 tone, 6, 4 and you have the Ernest Tubb lick.
There are others, as mentioned.
I've had that change ever since I got my Franklin new 36 years ago. I have it on the RKR that also lowers 2nd string and 9th string.
_________________
GFI Ultra Keyless S-10 with pad (Black of course) TB202 amp, Hilton VP, Steelers Choice sidekick seat, SIT Strings
Cakewalk by Bandlab and Studio One V4.6 pro DAWs, MOTU Ultralite MK5 recording interface unit |
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Dylan Schorer
From:
Salt Lake City, Utah, USA
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Posted 22 Oct 2018 10:32 am
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Curious how many people prefer to raise the 7th string F# a 1/2 step to G vs a whole-step to G#.
I've tried both and haven't settled on a strong preference. I currently have it raising F#-G# for unison licks, and don't find it too difficult to hit a G, even without a half-stop. Though, I just use the G for a bluesy b7th in the pedals-down position, and slurring into the b7 or pushing a little sharp just seems to add to the bluesy feel, so I can get away without the half-stop. Though, it may be useful with a half-stop or set it to hard G natural if I wanted to use it in more chord voicings. |
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Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
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Posted 23 Oct 2018 9:09 am
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I've used the F# to G since I first started. I tried the 7th to G# a couple different times, but always go back to raising only to G. I did that change on a vertical, so only hitting the lever only far enough to hit that G to be very unreliable in the heat of the battle. On a right or left moving lever it's a little easier. I do it on my Mullen SD12, 3x4. I hit the G on string 1 by hitting RKL that raises 1 to G# only half way.
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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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Peter Freiberger
From:
California, USA
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Posted 23 Oct 2018 9:53 am
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| I think raising 7 by half steps to G and G# gives you more combinations than lowering 6. I also like it better on a P/P as you don't need to leave so much slack on the B pedal. |
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