6th string G# to B VKL

John Sluszny · Post by **John Sluszny** » 23 Apr 2004 8:15 am

Paul Franklin & a few others have it.What can you do with it?Thanks.

David L. Donald · Post by **David L. Donald** » 23 Apr 2004 2:35 pm

I think you mean G# to E not B.
I just looked at his Copedent.

Well it can gie you a Root E while usinf your Eb lever as a Major 7th
It can get that poassible pesky low 9th out of there.
It can add a low A dom 7 to BC pedals F# minor

It can turn his pedal 4 into an alternate A major rather than a drop to the Dom VII

It has some interesting possiblities with his tuning, if I were to add it I would add a 2nd LKR to use with P4
And keep the Bb lowers on my LKV

But I have his RKR except not the low G# I Would try the low E there if the Sho-Bud could actually do it, which I doubt.

I play with string 9 as C# and raise it to D on the same lever, that would be a nice 6th with the low G# too.
Just dang hard to get another bellcrank on there.[This message was edited by David L. Donald on 24 April 2004 at 02:31 PM.]

Ray Minich · Post by **Ray Minich** » 23 Apr 2004 5:41 pm

Whadda ya gonna do after you've filled all the holes in the raise & lower fingers for a string, and still want "just one more change"?

Go to guitar no. 2?

C Dixon · Post by **C Dixon** » 23 Apr 2004 5:56 pm

Yes and buy an Excel Superb. It has 6 raise holes and 5 lowers. Be a long time afore ya fill all dem holes

carl

David L. Donald · Post by **David L. Donald** » 24 Apr 2004 5:07 am

Ray I am definitly bumping up on that problem.
Especially with needing compensator rods to have the Bb lowers good both with and without AB pedals.

I have 68 things to tune now... whoops it's now 70
Just added PF's G# on S7 and F# on 8 to see how I like them. Interesting so far.[This message was edited by David L. Donald on 24 April 2004 at 08:18 AM.]

John Sluszny · Post by **John Sluszny** » 24 Apr 2004 7:23 am

David,you're right.G# to E.Thanks.

Tony Dingus · Post by **Tony Dingus** » 24 Apr 2004 11:24 am

Paul did at one time raise the G# to B on the
LVK.
Tony

John Sluszny · Post by **John Sluszny** » 29 Apr 2004 6:51 am

Right! Same question???[This message was edited by John Sluszny on 29 April 2004 at 07:59 AM.]

David L. Donald · Post by **David L. Donald** » 29 Apr 2004 8:46 am

Off hand it is raising the major third to the major fifth of E

It makes it the 9th for AB down A,
while leaving the C# thrid intact.

A sus four in BC down F#minor, if you don't play the minor thirds. Or use it as a passing note upwards.

A flat 5th for F lever and pedal A

I am sure there is a few things with it as root, but I have no more time.

Tony Dingus · Post by **Tony Dingus** » 30 Apr 2004 8:27 am

I use to raise the G# to B along with string 7 -F# to G# on the LKV. Using that change along with the A pedal gave me a fuller E6 tuning. I guess it's whatever you're after. I've heard Paul play some pretty stuff with it. Imagination is what it takes.
Tony

Bill Moran · Post by **Bill Moran** » 14 May 2004 4:08 pm

Wayne Cox · Post by **Wayne Cox** » 14 May 2004 4:39 pm

TONY, I like your idea best of all! I never thought of it before,but what a great way to get those beautiful E6 and E13 sounds with less footwork. I hope AL MARCUS taps into this thread.

~~W.C.~~

Franklin · Post by **Franklin** » 14 May 2004 10:03 pm

I own several guitars, All with something different on them. I still raise the 6th G# to B and I also lower it to E.

These are a few pretty moves utilizing this change.
<pre>
L = G# to B change

E = lowering E's to Eb

~~ symbol = slide and/or sustain
without picking.

C7th chord moves

5____3A~~1A~~1__ Do this same move
6____3B~~1L~~1B_ using strings 4 5 and 6
7_______________
8____3~~~1B~~1E_
</pre>
<pre>

These are ascending pick up licks
for C major

Lick one Variation on lick
4____________8E~~8_ 4_____________8E~~8_
5____8~~~8A~~~~~~8_ 5_8~~~8A~~8A~~~~~~8_
6____8L~~8B~~~~~~8_ 6_8L~~8B~~8L~~~~~~8_

C major through C7th chord passage
resolving to F major

4_3L~~3~~~3~~~3~~~1_
5_3A~~3A~~3A~~3~~~1_
6_3B~~3B~~3~~~3B~~1_

(K = F# to G# raise)

(P = pick note before activating
notated pedal)

Cmaj7 resolving to G major

(This is tabbed in two parts &
it should be played as one phrase)

1_________P3K~~3___
2__________________
3__________________
4__3L~~3~~~~~~~3___ 3L~~3E~~3_
5__3A~~3A~~~~~~3A__ 3A~~3~~~3_
6__3B~~3B~~~~~~3B__ 3B~~3B~~3_
</pre>

As you can see these moves go beyond any notion that this change is primarily limited to licks. I found that this raise provides fresh new voicings to some very useful and common melodic phrases we all have to use when backing singers which is only the beginning of its possibilities.

I hope this helps you see the potential here.......Paul
[This message was edited by Franklin on 14 May 2004 at 11:15 PM.]

Jim Smith · Post by **Jim Smith** » 15 May 2004 3:28 am

Paul, if "L = G# to B change", what are the "L's" on the 4th string in your last two sets of licks?

Franklin · Post by **Franklin** » 15 May 2004 5:45 am

Jim,
L is the same change. Those particular leg moves are made easier when the B pedal remains down. Sorry for the confusion, I thought it would be clear written this way. I have personally never seen tab written where two raises on the same string are required for easier use. It would seem cluttered if written on the same string.

Paul

Jim Smith · Post by **Jim Smith** » 15 May 2004 6:24 am

Thanks Paul, I gotcha now!

C Dixon · Post by **C Dixon** » 16 May 2004 6:50 am

What Paul is doing is what I believe is leading us into the future of the PSG. Check the following out:

"Why in Heaven's name would anyone lower the 6th string from a G# to an F# when you already have the F# on the 7th string?"

Sounds legit. Fits perfectly in the mind of ole Joe Sixpack. UNTIL, someone answered,

"Well, you have a D# on the second string, how come you lower the 4th string to a D#, HUH?

"

Here's the point. Beautiful music flows. One of the reasons IMO that symphony orchestras have sooo many fretless instruments is "seeded" right there.

Look at the A pedal versus the following tuning:

E
C#
B
G#
F#
D
B
E

This tuning preceeded Bud Isaac's pedal by many years. So how come most use the pedal to raise the B to C# instead of keeping with the above tuning?

The answer lies in what Bud Issac's did; also, what Buddy and Jimmy and Ralph and Lloyd and Bobby and Pete and Paul and Tommy, et al did. By raising and lowering strings to notes rather than reaching up (or down) to get them, gives music that flow. Like a singers voice.

Sustaining one or more strings as one or more move is what takes this instrument into the true world of music IMO.

I applaud all the great players above for their NOT being content with the "tried and proven", rather they sought ever more; musically speaking.

May our precious Lord always give us those whose talents lead us onward. Praise his holy name,

carl [This message was edited by C Dixon on 16 May 2004 at 07:54 AM.]