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Topic: 6th string G#-A# + A pedal = Reverse Franklin? |
Dan Beller-McKenna
From:
Durham, New Hampshire, USA
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Posted 14 Aug 2015 4:18 am |
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Recently I moved pedal 4 on my Super Pro from the C6 to the E9 neck where I felt it would get more use. After experimenting with some other changes, I settled on using the following arrangement for my four E9 pedals:
| Tab: |
1 2 3 4
F#
D#
G# +A
E +F#
B +C# +C#
G# +A# +A
F#
E
D
B +C#*
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*-I actually lower string 10 to A with my A pedal, but posted the normal changes on that string here so as not to confuse the issue.
The "fourth" pedal (now in the "0" position to the left of my "A" pedal) is raising the sixth string from G#-A#. This change is often offered as an alternative to lowering string 5 B-A# on something like the LKV. (I tried that through this process of trying out changes and couldn't get comfortable with it). Another use for it, and the one I am actually employing, is in conjunction with the raise from B-C# on string 5. This pairing is usually touted for two uses: 1) when used along with the knee lever lowering strings 4 and 8 to D#, it replicates pedal 7 on the C6 neck, providing a major 9th sound; and 2) two frets down from open position it provides a dominant 7th and/or 9th. I'm using it primarily that way and finding it a great, new, refreshing addition to my available sounds.
Of course, if one treats the F# on string 7 as a root, and leaves off the E on string 4 (and or eight), the raises to A# and C# are just part of a major triad. As I was fooling with this sound this morning it dawned on me: this is just the Franklin pedal in reverse, right (excepting the 10th string component of that pedal, of course)? |
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Earnest Bovine
From:
Los Angeles CA USA
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Posted 14 Aug 2015 8:49 am Re: 6th string G#-A# + A pedal = Reverse Franklin?
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| Dan Beller-McKenna wrote: |
| this is just the Franklin pedal in reverse, right (excepting the 10th string component of that pedal, of course)? |
Because you can play this on fret 1, which the Franklin pedal allows at fret 3?
Of course with the "0 pedal", you can bend the 2 strings separately (independently). Tommy White's setup allows that since he has whole step lowers on 5 and 6 on separate knee levers. Actually Paul F can do something like that using the whole step raise on 7 separately from the whole step lower on 5. |
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Earnest Bovine
From:
Los Angeles CA USA
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Posted 14 Aug 2015 8:54 am
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Also this G# to A# raise lets you do common progressions like this at fret 1:
and of course you can embellish it by wiggling the 2 upper voices independently as the lower voice descends by half steps using the knee levers that we all have on the 9th string.
On my setup I can slide into the last G chord without re-attacking 5,6,9 since I can lower 6 a half step. |
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Dan Beller-McKenna
From:
Durham, New Hampshire, USA
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Posted 14 Aug 2015 9:17 am
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You're way ahead of me. I'm still in the noodle-and-discover stage.
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| On my setup I can slide into the last G chord without re-attacking 5,6,9 since I can lower 6 a half step. |
On mine as well, but I'd have to hop over the A pedal to the B pedal while lowering string 6 with my LKR. Probably easier for me to re-attack. |
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Earnest Bovine
From:
Los Angeles CA USA
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Posted 14 Aug 2015 3:16 pm
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| Dan Beller-McKenna wrote: |
I'm still in the noodle-and-discover stage.
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I'm sure you have noodled & discovered the very similar progression that you hear all the time in pop music, starting on G minor instead of G major, since that uses the A&B pedals. The only difference is raising 6 a half step with the B pedal, instead of a whole step with "pedal 0". This is Gminor on the first fret. Maybe a better example is open strings where it starts on F# minor, and is the intro to Paul McCartney's Michelle in the original key. |
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Dan Beller-McKenna
From:
Durham, New Hampshire, USA
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Posted 14 Aug 2015 4:00 pm
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| Ah, yes! I wasn't really thinking of these pedals as the parallel-major to A+B, but, of course, that's exactly what they are! |
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