A-Ab on C6 why/where?

Bengt Erlandsen · From: Brekstad, NORWAY

I have been exploring different changes/combinations Levers/Pedals on my C6. Setup = Buddy Emmons (5peds - 4levers)
Question is about the LKL 4string A-Ab.
I have found the Aug-chord. Also there is a nice split together w P7. Which means I can go from P6 to P7+LKL and stay in position. Is there a reason for why The 4string lowers on LKL and raise on LKR or can I switch them without messing up some combinations I havent found yet. Surely is a reason, but I don't see it.
So can someone help w what Pedal combinations is used together w LKL(4 A-Ab) and LKR(4 A-A#)

Right now my E9neck is gathering dust. C6 is way too much fun to play. It should be called rock/blues neck in addition to Jazz-neck.

Bengt Erlandsen
ZumSteel S12 E9ext
JCH D10

C Dixon · From: Duluth, GA USA

Not sure when or how Buddy uses his A to Ab lever. I can only tell you that I would not be without it and here is why.

Used with the 6th pedal and picking strings 2, 3 and 4 gives one, another minor inversion on those strings; that has long been needed. In fact that minor inversion is one of the trademarks of Jerry Byrd. He discovered and pioneered it long ago. I dare say there is NOT a single recording that he has not used it on.

In addition, it is such a nice way (as you said), to get an augmented on the same strings. Again, a very needed place for an augmented chord.

Having said that I feel BE may not use any of the above too often; and here is my thinking. Almost everything he does on that incredible C6 tuning makes use of "that" sound that has become so associated with the bottom neck on D-10's.

IE, "dissonance". And that Ab note is just one more place where it rears its "pretty" head.

My opinion only; since I do not know,

carl

John McGann · From: Boston, Massachusetts, USA * R.I.P.

A to Ab (4th string lower):

w/ C# lever- C#m triad on 2 3 4
w/ p6- Fm7 9 with beautiful minor 2nd between G and Ab
w/p5- D7 #11 (or sub V Ab7)
w/p5+6-Ab7 13 (or sub V D7#9)

I'm sure there are more!

[This message was edited by John McGann on 06 November 2003 at 08:00 AM.]

[This message was edited by John McGann on 06 November 2003 at 08:18 AM.]

Bobby Lee · From: Cloverdale, California, USA

I often think "why do I have that?", but every now and then I'll be playing along and discover that I need that note. It's usually when a chord has a moving tone.

I use it for the obvious augmented chord now and then too, but I use the C-C# more often for augmenteds (F root).

There's a comfort in knowing that all of the notes of the chromatic scale are available at every fret.

------------------

Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax

Bengt Erlandsen · From: Brekstad, NORWAY

Thanks for the replies.

for the minor A-Ab + P6. Knows where that will come in handy.

for the minor w (4 A-Ab) & ( 3 C-C#) really helps connecting the open chord with the 3frets up (P8 + RKR).

for the chromatic note info. Found all notes from F#(P5) thru F(P6).
Could even extend that range of notes downwards if I had a reverse P6(kneelever) and even further if I had a raise on 7th str C-D. I might try moving the P4 pullrod from string 4 to string 7 so P4 will do the same as P7 but in the low register.

Bengt Erlandsen

[This message was edited by Bengt Erlandsen on 07 November 2003 at 02:42 AM.]

James Winwood · From: New York, New York

If you get into jazz chord/melody, you'll start seeing it valuableness.

John McGann · From: Boston, Massachusetts, USA * R.I.P.

Here's a nice progression (not that unusual although it analyzes a little funny!) inspired by the mighty Curly Chalker, showing use of both 4th string raise and lower levers:

Strings 7 6 5 4

key of Ab

Fret 12 p6+ 4th lower (Abmaj7) (I maj 7) C Eb G Ab
Fret 11 p6 (Bm7b5) (bIIIm6) B D F# G#
Fret 10 4th raise (Bb7) (II7) Bb D F Ab
Fret 9 p7 (Amaj7) (bII maj7) A C# E G#

and maybe resolve to an Ab triad strings 7653 fret 8.

Of course the cool thing is the G#/Ab note remains on top, since that 4th string can be altered in 3 ways via the 1/2 step raises and lowers and the whole step raise on p7- not to mention the note in "bar position"!

[This message was edited by John McGann on 07 November 2003 at 01:24 PM.]

Bengt Erlandsen · From: Brekstad, NORWAY

I see the value for why the A-Ab is there but I still wonder why it is on LKL instead of LKR ( and A-A# beeing LKL ). When I try the following voicings things would seem to be a lot easier if the A-Ab was to the left and the A-A# was to the right. Or am I playing the voicings in awkward positions???
Still not familiar with where to find all the chords on the C6 neck.



     E7  A9  D7  G7  G7#5


 1-----------------------


 2-----------------------


 3---4---4---2##-2---2#--


 4---4#--4---2#--2---2---


 5---4---4---2---2---2---


 6---4---4b--2---2b--2b--


 7-----------------------


 8-----------------------


 9-----------------------


10-----------------------


    LKR P6   P7  P6  P6


             LKL     RKR


           (split)





or


     E7  A9  D7  G7  G7#5


 1-----------------------


 2-----------------------


 3---4---4---------------


 4---4#--4---5##-5---5#--


 5---4---4---5---5b--5b--


 6---4---4b--5---5---5---


 7-----------5#--5---5---


 8-----------------------


 9-----------------------


10-----------------------


     LKR P6  P8  P5  P5


             P7      LKR


            (P4)

Bengt Erlandsen

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