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Topic: A# on 6th string |
Cameron Fulp
From:
Lindale Texas, USA
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Posted 30 Jun 2018 10:30 pm |
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Anyone have the change 6th string G# to A# ? What are the uses? How is it played ? Just curious.
Cameron |
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Ian Rae
From:
Redditch, England
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Posted 1 Jul 2018 3:09 am
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On a uni, that's a basic change and it gives an F# major triad on 7,6,5 (and with 4 & 8 lowered to D#, an F#6 or D#m7).
So it could be useful on E9 if you like to fake C6 stuff. Don't know where you'd put it. Maybe on a zero pedal if you've got one but don't have a use for the Franklin change.
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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Ian Worley
From:
Sacramento, CA
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Posted 1 Jul 2018 11:41 am
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I have this on my S10 as my "0" pedal. It can be a very useful change depending on your playing style.
If you combine it with your A pedal it gives you a nice F#7 (II7) chord on strings 4-8 in open root position, or an F#9 if you add string 3. String 1 is also obviously a root and string 2 is the 13. It all works.
When 4 & 8 are lowered too, making B6 your root chord, that pedal combination is the same change as P7 on standard C6. Cowboy Eddie Long uses this change instead of a normal P7 on his U12. It's very useful off the I or IV chord in simple progressions, a really nice expression pedal for moving chord melodies, but lots of other possibilities. In open root position it gives you a Dm#7 (iii7 in B6) or a F#6 (V6). Release the E lower for the F#7 (V7). This is similar to the P6+P7 combination on C6.
It's not going to work for everybody, but for the sort of sounds I like to hear coming out of my speaker, I find it very useful. Give it a try, put it next to your A pedal |
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Ian Rae
From:
Redditch, England
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Posted 1 Jul 2018 11:58 am
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There you are, Cameron - someone's actually done it.
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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Cameron Fulp
From:
Lindale Texas, USA
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Posted 1 Jul 2018 12:00 pm
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| Ian Rae wrote: |
On a uni, that's a basic change and it gives an F# major triad on 7,6,5 (and with 4 & 8 lowered to D#, an F#6 or D#m7).
So it could be useful on E9 if you like to fake C6 stuff. Don't know where you'd put it. Maybe on a zero pedal if you've got one but don't have a use for the Franklin change. |
Hey Ian thanks for responding, I have this change on an “X pedal†. I’m curious on how to use it in a say “1-4-5†progression ? I am still learning music theory. So bear with me. Any advice on where to play it, or how to play it in a simpler Form would be greatly apreciated! |
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Cameron Fulp
From:
Lindale Texas, USA
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Posted 1 Jul 2018 12:03 pm
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| Ian Worley wrote: |
I have this on my S10 as my "0" pedal. It can be a very useful change depending on your playing style.
If you combine it with your A pedal it gives you a nice F#7 (II7) chord on strings 4-8 in open root position, or an F#9 if you add string 3. String 1 is also obviously a root and string 2 is the 13. It all works.
When 4 & 8 are lowered too, making B6 your root chord, that pedal combination is the same change as P7 on standard C6. Cowboy Eddie Long uses this change instead of a normal P7 on his U12. It's very useful off the I or IV chord in simple progressions, a really nice expression pedal for moving chord melodies, but lots of other possibilities. In open root position it gives you a Dm#7 (iii7 in B6) or a F#6 (V6). Release the E lower for the F#7 (V7). This is similar to the P6+P7 combination on C6.
It's not going to work for everybody, but for the sort of sounds I like to hear coming out of my speaker, I find it very useful. Give it a try, put it next to your A pedal |
Hey Ian that’s a very helpful response. I play a Cowboy Eddie Long‘s copedant. This is extremely helpful, and answers my questions completely. Thank you so much. |
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Greg Milton
From:
Benalla, Australia
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Posted 1 Jul 2018 2:01 pm
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Hi Cameron,
I have also have this change on my E9 tuning, in the 0 Pedal position, and use it a lot.
As far as I, IV and V progressions, as Ian stated it makes a nice 7th chord two frets down from the no pedals position, and if you have the B-Bb lower on string 5 and G#-F# lower on string 6 as well, you can make some nice combinations using three different scale tones on both strings 5 (with A pedal, open string, and B-Bb lower) and 6 (with G#-A# pedal, open, and G#-F# lower).
Using these scale tones allows some nice counterpoint moves (i.e. one string going up, one going down, or combinations thereof). The unison note of the G#-A# with the B-Bb lower on string 5 is particularly nice to play around with, and resolves in different directions.
In the same way, having a long movement from F# to A# or vice versa on your 6th string while playing around with the scale tones on the 5th string sounds great!
I also frequently use it as a scale tone in the no pedals IV chord position (i.e. in key of C on the 3rd fret with pedals down, go down to the 1st fret, no pedals, and use the G#-A# as a scale tone), and in the F lever/A pedal position it works like an A pedal, raising the 5th scale tone a whole step (I raise my Es to F# on a knee lever, so I have the B pedal equivalent as well).
Anyway, there's some ideas to play around with just playing in E9 mode.
Good luck! |
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