Diving into the second string.

[Neal Vosberg]

We all know Lloyd is one of the masters of the craft, and we also know he might be one of the greatest proponents of the second string. So far I'm hip to some of its uses, but I was always confused when I saw it used in conjunction with an open position grip, not raised or lowered. For example, just without the bar you grab strings 3 and 5. So we've got a G# and a B. Third and a fifth of E. So I see a string group of 3,5, and 2 and I'm confused. How's a D#/Eb working there? What am I looking at? All I can assume is a major seventh sound, sans a root note.

[Chris Reesor]

5-3-2 open is G# minor, first inversion, or a rootless E maj7, as you noted.

[Fred Treece]

5-2-1 is a B major triad, R/3/5.
7-5-2 is a B major inversion, 5/R/3
5A-4F-3-2 ... C#add9, R/3/5/9 - the ninth can also be thought of as a 2.
5A-4-3-2 is C#m9 R/m3/5/9
3B-2-1 is D#dim, b6/R/b3 ...add open string 5 for B7

Those first two are not the easiest grips in the world, but we knew the job was dangerous when we took it, right?

[b0b]

The 2nd string is the same note as the 4th string lowered. If you're raising your 4th string with the C pedal or F lever, you still have that note available.

It's especially useful in the A+F position. Here's a descending scale lick on the G7 chord
[tab]1 ______6____________________
2 _____________6_____________
3 ___6_______________________
4 _________6F________________
5 ________________6A--6______
6 _______________________6___
...
[/tab]

Another common 2nd string usage is with the B+C pedals and the second string lowered to D. Here is a typical country lick on a G chord
[tab]1 ___________________________
2 _____________5D____________
3 __5B____________________5B_
4 ______5C--5______5--5C_____
5 ___________________________
...
[/tab]

[Randy Schneider]

John Hughey makes use of that 5-3-2 combo in Vince Gill's "Take Your Memory With You." Right before the last line of the verse ("Take your memory with you when you go"), he uses the 5-3-2 (at least I *think* he does!) at fret 7 with A+B down, then no pedals at 7, and again at 4 and 5.

It's a great sound, and kind of a 'signature' sound for the song. The first example comes at 0:27:
https://www.youtube.com/watch?v=sLTzt3bFIV4

[Fred Treece]

b0b’s comment is a reminder that Paul Franklin advises us to study the intervals among the strings, and not just think in terms of chords and scales.

String 6 to string 2 = perfect 5th
String 5 - 2 = major 3rd
2 - 4 = m2
2 - 3 = perfect 4th

Etc etc. for any string and changer combination.