Strings 5 & 6 raise.

Gary Arnold · Post by **Gary Arnold** » 5 Apr 2012 7:10 pm

I saw a copedent on the forum and the 4th pedal raised 5 & 6, B to C# and G# to A. How would you use it? Thanks

Tony Williamson · Post by **Tony Williamson** » 6 Apr 2012 2:11 am

I don't think you need it.better uses for a pedal. You can f#m sound with the b and c. And other strings. Id go ahead and do a 5 and 6 drop or a 1 and 2 raise with an extra pedal.

Tony Williamson · Post by **Tony Williamson** » 6 Apr 2012 2:14 am

A and b will do it too...only difference would be 8...I just don't think it would worth the pedal to raise 8.

Tony Williamson · Post by **Tony Williamson** » 6 Apr 2012 2:19 am

I think I read it wrong. Its early and I can't see good yet. Maybe they had a franklin change on the first pedal. Then pedals 2..3..4 were std.

Lane Gray · Post by **Lane Gray** » 6 Apr 2012 3:17 am

I have seen 6 to B and 7 to G# before.

Ransom Beers · Post by **Ransom Beers** » 6 Apr 2012 3:51 am

I don't know about raising 6 to A,I lower 6 to F#,Billy Cooper uses it on "Healing Hands Of Time" along with the B pedal very effectively.

Dan Galysh · Post by **Dan Galysh** » 6 Apr 2012 4:48 am

This dedicated pedal leaves the 10th string at B. You get a B eleventh on strings 10 ,6, 5 and 4, open. Think 4 chord with a 5 in the bass. Also an A major seventh, open on 6, 5, 4 and 3. Some nice, modern sounds with this pedal.

Richard Sinkler · Post by **Richard Sinkler** » 6 Apr 2012 7:19 am

Isn't this the original Bud Isaacs change that ended up getting split into what we have now? Outside of Dan's comment about the 10th string staying at B, I see no reason to have it. OOPS... Missed Dan's comment about the major 7th. That would be cool, I guess, but still wouldn't put it on my guitar.

Tony Williamson · Post by **Tony Williamson** » 6 Apr 2012 7:43 am

Dan you're right. I do that on guitar all the time. Teach me to answer something when I wake up at 5 am. I still don't know if I could dedicate a pedal to to that. Why not use a and b pedals and just unhook 10 for the song?

Shawn Renoll · Post by **Shawn Renoll** » 6 Apr 2012 7:48 am

Gary,I have this change on my 4th pedal, but I'm finding I'm not using much at all. I'm open to some suggestions for what to do with this pedal also.

Dan Galysh · Post by **Dan Galysh** » 6 Apr 2012 8:39 am

I don't have this change on my guitars. I do lower 10 to A on a knee and split it with the A pedal to get the B note on string 10. Understandably, some people would have no need for this change.

Roger Rettig · Post by **Roger Rettig** » 6 Apr 2012 1:04 pm

I love this change - it gives me a 4 chord with a 5th on the 10th string. It also gives a major 7th playing 6,5,4,3.

Certainly there are other ways to get these combinations but, for me, this one makes more sense than the Franklin pedal as a 'fourth choice'.

I know it as the 'Isaacs Pedal' - that's what Dave Robbins and Jimmie Crawford called it, anyway. I have it on both my guitars.

Roger Rettig · Post by **Roger Rettig** » 6 Apr 2012 1:06 pm

I just saw Dan's post - glad to see someone agrees with me! That's unusual around here.

I often have to find those slightly more 'modern' sounding changes in my work. For me this pedal is a big 'missing link'.

Richard Sinkler · Post by **Richard Sinkler** » 6 Apr 2012 1:52 pm

I love this change - it gives me a 4 chord with a 5th on the 10th string.

????????????????????????

If the pedal changes 4, 5, 6, 8 to an A chord, isn't the B on the 10th string the 9th (or 2nd) of the A chord.

The B on 10 is the fifth tone of the E chord with no pedals.

Enlighten me...

Roger Rettig · Post by **Roger Rettig** » 6 Apr 2012 1:59 pm

'A 4 chord (A) over a 5th in the bass - a B note! All in the key of E. If I talk of a '4' chord, the key is implied.

Gary Arnold · Post by **Gary Arnold** » 6 Apr 2012 3:28 pm

Thanks guys, I have the Franklin pedal my self, I saw the 5 & 6 raised on some one elses copedent and it caught my eye.......Thanks, Gary

I'm really sad today after hearing that "Herby" passed, he was a good friend of mine, I just talked to him on the phone a few nights ago for an hour about the new G2's

Chris Reesor · Post by **Chris Reesor** » 6 Apr 2012 3:50 pm

I love that chord too. That 4/5 to 2nd inversion tonic resolve has a real gospel flavour, to me. I use it in "People Get Ready" and "Tupelo Honey",for example.
You can think of it as a B11, voiced R b7 9 11; it's a great sounding dominant sub.
Another use just occurred to me. If placed beside the C pedal, with a split on the E lower,you can play a mi to mi/ma7 to mi7 to mi6 cadence a little more smoothly and easily than changing from BC to AB halfway. Just use C + Isaacs and rock off the C pedal.
I'm just setting up an Excel Superb U12 I recently bought and have been trying to decide what to do with P4.Think I'll give it a try. I know the close voiced maj7 on 6,5,4,3 will be useful too.

Thanks, guys.

Chris

Tony Williamson · Post by **Tony Williamson** » 15 Apr 2012 1:51 pm

man that sounds complicated. i dont understand that language at all. but this chord is cool on a guitar coming from a 4/5. just make a F chord with a G base, drop the third string to the first fret to make it a minor, and leave strings 2 and 1 open. now this is on a guitar. can it be made on a steel ?

Chris Reesor · Post by **Chris Reesor** » 16 Apr 2012 4:26 am

10 string E9, A+F, third fret, top four notes are on strings 9,8,6,5. You can get the low root on string 12 on ext. E9 if you back off the F lever tuning nut on that string. My uni 12, same deal except the root is on string 11 and one more lever is required to get the F on string nine.
The chord is G13b9, BTW. Try resolving it to Cmi9, or Cmaj9. Check out Wave played by Joao Gilberto for a real treat.
Cheers, Chris

Gary Arnold · Post by **Gary Arnold** » 16 Apr 2012 8:47 am

b0b, You can close this one down, thanks

gka

Jerry Hayes · Post by **Jerry Hayes** » 18 Apr 2012 4:08 am

Great change... I had it on my BMI and loved it. I used it all the time for "Buds Bounce" or other things needing the "Issacs" sound. You could save wear and tear on your third strings life.

One move I really like is if you're in the key of C at the 8th fret, just depress that pedal to go to the Fmaj7 and then lower the 5th string B a half tone against that pedal (won't work on a push pull), let off both back to open C. A very pretty move for an ending or wherever you wish to use it....JH in Va.

Lane Gray · Post by **Lane Gray** » 18 Apr 2012 5:39 am

How quickly we forget, Jerry.
Push-pull and pull-release players (and all-pull players fond of hitting the "blue notes" at times) just half pedal.
I like your examples of its use.

Joe Miraglia · Post by **Joe Miraglia** » 18 Apr 2012 3:33 pm

Gary Arnold wrote:I saw a copedent on the forum and the 4th pedal raised 5 & 6, B to C# and G# to A. How would you use it? Thanks

Garry, I have that change on pedal 4. With pedal 5 Strings 7 and 6 raise F# to G#,G# to B. that gives a E6th. The alvino Ray sound. Use 4&5 pedals with F knee lever there is the 7th. There is more I get with the set up. Also 9th. string is open C#.

The Steel Guitar Forum

Strings 5 & 6 raise.

Strings 5 & 6 raise.

5 & 6

4/5 chord

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Re: 5&6 Raise

Re: Strings 5 & 6 raise.