How do you use D#-C#

[Larry Behm]

There is the Emmons unison move on Touch My Heart, then there is…..give me more.

[Donny Hinson]

I do the “Emmons cross” (TMH) move in other songs as well, and I also use the unison with string 5 like Weldon used it on Connie’s song “I Can’t Remember” (which a lot of players thought was double-tracking). It also gives a really beautiful expanded-chord IV-V7 move with the A pedal if you lower string 10 to an “A”.

Yes, it’s basically a lick-pedal, but I like it.

[Bengt Erlandsen]

If you use it together with your B-Bb(if you have) then the D#-C# and B-Bb are compareable to to "reverse" A and B pedals on the open strings. You just have to view the B note as your root note instead of E.

I use that C# note on the 2nd string and 9th string as a substitute for the C# available with the A pedal. It makes a lot of melody lines flow quite different.

Using that C# note as a root note I use plenty times. That also mean I can split the A pedal with the B-Bb and at the same time get the maj7th note and release the A pedal(while keeping the B-Bb) to get down to a 6th while the E-F lever control if it will be a minor or major version of the whole thingy.

That same C# note used together with dropping string 6 and maybe also 3 down to G is also super useful. Altho same voicing combo can be done by instead using different string group with E's to F and half pedaling the A pedal. Sometimes that actually will be the more useful option depending on where your melody/chord came from and where you are heading.

The D#-C# is definitly not just a lick pedal move imo.

B.Erlandsen
Remington S10LG 3+4
JCH D10 8+8
Zumsteel S12extE9 7+7

[Donny Hinson]

Thanks for those, Bengt! (I'd never considered using it with the 9th string.) Just looking for other possible chords with it, I see it would also give you a D#m7#5 chord (B-C#-D#-F#) if you used it with the E-lower. My own musical knowledge is limited, so I just play the simple stuff. But I'll bet some top-level players like Lloyd or Paul could give us even more uses for it.

[Jack Hanson]

Mainly in conjugal with the 5th string/A pedal.

Also for a hugely expanded 6th chord with the A & B pedals down.

[Scott Spanbauer]

Just stumbled on this while learning the Creeper's break on Lost in the Ozone Again.

Though you can find the licks in different places, it seems like he mostly just keeps RKR fully engaged and moves the 2-4-6 grip around the neck (although, did he even have that lever?) Works with the A pedal 7ths and AB down too.

To paraphrase Yogi Berra, you can hear a lot by listening.

[Fred Treece]

For single note playing, I use it to get pentatonic scales, with Pedal B or without. If you can lower your E’s with the C#, you have a 3rd pentatonic option.

For chords, I use it with the E-raise (without Pedal A) for going back n forth between a straight dom7 to a 9th voicing on strings 5-1.
Obviously, the pentatonic scale options mentioned above are also strummable major 6/9 chords, which are also m7 chords with a suspended 4th.
I like the F#9th chord voicing with the Bb lever. Nice getting all 5 notes of the chord in both octaves, just like you can do when lowering D#-D for a 10-string E9 chord.

For licks, try holding the C# on str 2, picking strings 2 & 1 together, then pick 4 & 5 together and bend them up with Pedal C for a unison with 1 & 2. It’s a kinda rick n roll sound, but it has a twangy country edge too. Sounds cool when releasing pedal C too. I have the Bb lower on a 0 pedal next to A, so I can shift the foot over and lower string 5 to resolve the voicing all the way to a straight dom7 (from F#11 to F#7 in the open position).