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Post new topic Recommended 4x5 copedent for beginner?
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Author Topic:  Recommended 4x5 copedent for beginner?
Baron Collins-Hill


From:
Maine, USA
Post Posted 7 Jan 2018 7:32 am     Reply with quote

Hi everyone!

New to the Pedal Steel, been reading the forum and listening a lot. I got to try a couple out a few days ago, a MSA and a Zum Encore, both S10 Emmons setups. I really liked the Encore, and a lot of people suggest it to first timers.

I emailed Doug and from his reply it seems like the next round of Encores will start as 3x5's. I know that a 3x4 could keep me busy for a lifetime, but I'm thinking about going for a 4x5 even if I don't touch the 4th pedal for years. I like knowing I have options.

Does anyone a suggestion for a 4x5 copedent? I've seen a lot of discussion about what the individual pedals do to specific strings, but do folks ever talk about this in terms of nashville number system and voice leading instead? The specific strings don't make sense to me as a beginner, but hearing something like "the fourth pedal with so-and-so's copedent gives you access to diminished this-and-that and dominant b5 chords out of such-and-such a position" would make sense to me. If that's not how it's explained, is there another way that a novice with a good handle on music theory could understand?

Thanks very much!
Baron
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Chris Brooks


From:
Providence, Rhode Island
Post Posted 7 Jan 2018 8:40 am     Reply with quote

I strongly suggest making your first pedal from the left a pedal which flats the G#s to Gs.

Then A, B, and C pedals would be numbers 2, 3, and 4.

1. With just the 0 pedal, you get a minor chord out of the no-pedals major position.

2. That's also a 9th chord for the IV of that position.

3. Pedals 0 and A yield a nice minor 6th chord.

Chris
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Richard Sinkler


From:
Oakdale, California
Post Posted 7 Jan 2018 8:50 am     Reply with quote

There are millions (well, at least very many) discussing chord possibilities with pedals. I'm sure many will give you ways to search for them.

The most basic changes you see are:

Tab:
   
     A.   B.   C.   P4   K1.  K2.  K3.  K4*  K5     K*

F#........................ ............ G.......... G#
D#...................................... .. D#/D... E
G#....... A
E............. F#....., .D#....F
B...C#........ C#...A............. Bb
G#....... A,....... F#..............................F#
F#.............,................ ...... G..........
E.......,............. ..D#....F
D.....,..........,.......................... C#
B...C#..............A............. Bb


K4* and K* are often chosen one over the other. K3 seems to be placed more on the vertical lever. Knee lever changes can be placed on pretty much any lever.
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Lane Gray


From:
Topeka, KS
Post Posted 7 Jan 2018 5:24 pm     Reply with quote

I'd put P1 raising 1 and 2 to G# and E
The A, B and C pedals on 2-4
LKL raises the Es
LKV lowers the Bs to A#
LKR lowers the Es
RKL raises 1 to G and lowers 6 to F#
RKR lowers 2 and 9 to C# (half-stop at D on 2)
I do find that I like being able to split the raise of 2 with the whole tone drop. If you put the 1st and 2nd string raise on a knee, then you can't do that.
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