Missing 'C' Pedal

Brian Henry · Post by **Brian Henry** » 27 Jun 2008 8:10 am

DYLBE

Twayn Williams · Post by **Twayn Williams** » 27 Jun 2008 10:09 am

The B+C pedals is not my favored way to get a minor chord. I prefer the A pedal or the A+B pedals (m7). I've recently reset my RKL to lower both G#'s to G and I really like that change a lot.

Because of this thread, I've been exploring what I can do with the C pedal and I'm finding some really nice melodic things. I've never seriously considered removing the C pedal or changing how it works, outside of possibly connecting the 8th string E to it as well.

Speaking of which, outside of making the C pedal stiffer, why isn't the 8th string E connected to the C pedal by default???

admin · Post by **b0b** » 27 Jun 2008 11:04 am

Twayn Williams wrote:Speaking of which, outside of making the C pedal stiffer, why isn't the 8th string E connected to the C pedal by default???

On a push-pull Emmons you can use B+C with your E lower lever to get a wonderful 9th chord (B9). The E lever lowers the 8th string but it doesn't affect the raised 4th string.

Raising the 8th string to F# can cause a sympathetic vibration on the 7th string. This can be unwanted nuisance - you might need to "pinky block" the 7th string once in a while.

Twayn Williams · Post by **Twayn Williams** » 27 Jun 2008 12:27 pm

b0b wrote:
Twayn Williams wrote:Speaking of which, outside of making the C pedal stiffer, why isn't the 8th string E connected to the C pedal by default???
On a push-pull Emmons you can use B+C with your E lower lever to get a wonderful 9th chord (B9). The E lever lowers the 8th string but it doesn't affect the raised 4th string.

Let's see:

B(1) - D#(3) - F#(5) - A(b7) - C#(9) - F#(5) - A(b7)

Ok, that makes sense! Thanks!

Post by **b0b** » 27 Jun 2008 12:42 pm

Yeah, I used that a lot when I had an Emmons. It's a really classic voicing.

Jonathan Cullifer · Post by **Jonathan Cullifer** » 27 Jun 2008 12:53 pm

Can't live without it...Lots of single note and two note stuff that would be impossible without it. If I was just playing chords, maybe, but not a lot of phrases.

Chip Fossa · Post by **Chip Fossa** » 27 Jun 2008 3:33 pm

One of the greatest, still, Lloyd Green, used/uses the B-C pedals quite extensively.

I always use "Sweetheart Of The Rodeo" by the Byrds as a classic example of the B-C combo. Both Lloyd and JD Manness on this classic LP - it was a pivotal album in my learning experience.

Just can't get those squashes and lift-offs with anything other than a B-C pedal setup.

The archives must be pretty well documented with this topic, I'm sure. The B-C pedals has been covered quite extensively in the history of the SGF.

Twayn Williams · Post by **Twayn Williams** » 27 Jun 2008 6:17 pm

Twayn Williams wrote: B(1) - D#(3) - F#(5) - A(b7) - C#(9) - F#(5) - A(b7)

Alas, this actually doesn't work on my GFI

This is what I get instead:

B(1) - D#(3) - F#(5) - A(b7) - C#(9) - F(b5) - A(b7)

With the F(b5) being sharp. Still, without the 4th string I get a nice B9 anyway...