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Topic: G# to G |
Sonny Jenkins
From:
Texas Masonic Retirement Center,,,Arlington Tx
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Posted 14 Jan 2003 6:39 pm |
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| Hey you guys that use this change,,,what changes are used in conjunction with it? or how is it used? |
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C Dixon
From:
Duluth, GA USA
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Posted 14 Jan 2003 6:52 pm
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are you talking about the 3rd string or the 6th string on E9th; or both?
carl |
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Larry Bell
From:
Englewood, Florida
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Posted 14 Jan 2003 8:19 pm
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By itself, the most obvious use is lowering the 3rds of the EMaj chord to give you Emi on strings 3,4,5,6,8,10 and the 9th (or the lowered 2nd string) gives you an Emi7.
Use it with the A pedal and you get an interesting rootless A7 chord
Use it with the lever that lowers 4 and 8 1/2 tone and you get a Baug
Use it with the lever that lowers 5 and 10 and you get an Edim
Use it with your E to F lever and you'll get a really ugly chord, but it has chromatic notes on three consecutive strings --TWICE-- 8,7,6 and 4,1,3 are F,F#,G. There's more chromatic licks than you can shake a stick at.
Jimmie Crawford is the master of using that change -- you hear it throughout his playing.
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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro |
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C Dixon
From:
Duluth, GA USA
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Posted 15 Jan 2003 9:19 am
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Larry is soooooo correct. I could not live without lowering my 6th string to a G for many of the reasons Larry gave. However, I do not lower this to a G the normal way a string is lowered. I do it by splitting with the B pedal. I love this.
I do want a knee lever that lowers all three G#'s to a G (U-12). And I will be putting one on soon to do just that. Along side having all three notes G, it allows me to tailor the "split G" to favor the A7th voicings rather than the Em voicing. Now I have to compromise; because they are not the same exact notes when tuning JI.
carl |
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Fred Shannon
From:
Rocking "S" Ranch, Comancheria, Texas, R.I.P.
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Posted 15 Jan 2003 11:16 am
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My tuning has a G# on 3,6, and 9. I do not use a F# on #7. I use LKL to pull these G#'s, simultaneously, to a G. I've been using this pull since 1968 when I was forced to put this tuning on because of motor nerve damage in my right hand.
I also use this knee in conjunction with the "A" pedal in almost every piece I play.
It's a killer for blues work. I also use it in the manner Larry and Carl speak of.
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The spirit be with you!
If it aint got a steel, it aint real
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Larry Bell
From:
Englewood, Florida
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Posted 15 Jan 2003 12:10 pm
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Another thing worth mentioning is that -- at least to universal players -- G# to G is the same as A to Ab on C6 -- for stuff like
(ii V in both examples -- C#mi7 to F#9)
4--5b--5b--5b--5b
5--5---5---5---5
6--5---5b------5
7----------5---5b
8---------------
(hold E to Eb lever throughout
-- string 7 is usually flatted on P4 or P5
on a universal)
the C6 version of this would be
2--4---4---4---4
3--4---4---4---4
4--4---4b------4
5----------4---4b
6---------------
There are bunches of E9 changes that can be used in a C6/B6 context on a universal. e.g., the B pedal is the same as A to Bb and the B to Bb lever is the same as the C to B lever. There are also a bunch of ways to use the C6 changes in an E9 context. For example, what's usually the 5th pedal on C6 (the one used in the example above) can be substituted for the F lever or the A+F position on E9 and what's usually P7 on C6 can be used to pull from a IMaj to a II7 chord (EMaj to F#7 in the open position on the universal).
Cool stuff. Makes the universal much more useful when these interrelationships are understood.
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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro[This message was edited by Larry Bell on 15 January 2003 at 01:18 PM.] |
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Bengt Erlandsen
From:
Brekstad, NORWAY
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Posted 16 Jan 2003 6:57 am
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I also use the G#-G together with 9th string D-C# when playing strings 9 8 6 5 to go from an open Idom7th to a IVdom9
Bengt[This message was edited by Bengt Erlandsen on 16 January 2003 at 06:59 AM.] |
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SveinungL
From:
Gjøvik - Norway - Europe - Earth
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