Neal Vosberg
From:
Tennessee, USA
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Posted 17 Dec 2017 7:57 am |
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| I've always loved Ben Keith's playing, even before I got into playing steel. He was so prolific on Young's material, but always restrained and tasteful. It seems like he was a guy unafraid to utilize the C pedal in great ways. On songs like "Deep Forbidden Lake" and "Good To See You", the melodies of the songs aren't inherently minor sounding, nor the progressions, but I can hear him use the C pedal to give the song a spooky, mournful tonality. Is this a result of doing something like a guitar player would do like playing Em type phrases over a G progression or is it something that's just a factor of the C pedal's sound? I have cursory knowledge of the function of the C, but I just want to see if anyone has insight to his approach. |
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Joachim Kettner
From:
Germany
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Posted 17 Dec 2017 11:03 am
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I only know (apart from the C and B pedals used together for a minor chord) that Jerry Garcia used it for another combination.
On David Crosby's and Paul Kantner's first albums, he made use of the unison notes you'll get if you push the C pedal in and pick the first string (Fis) at the same time.
If you're in the key of A-minor, it's done on the third fret.
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Fender Kingman, Sierra Crown D-10, Evans Amplifier, Soup Cube. |
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