Other P4 uses than Franklin?

[Steve Lipsey]

Beyond Franklin..what are some other P4 ideas on a standard Emmons E9?

Not that Franklin isn't lovely, but I 'd like to think about options...
Thanks!

[Richard Sinkler]

I use my 4th pedal (on a D10) to lower string 5 to Bb. I play Day style, so my A pedal is pedal 3. I don't use it to split the A pedal for a C note, although it is pretty close already. I use it to get a partial 2-9th chord on strings 3,4,5,6,8 (F# root on strings 1 & 7). It is similar to the 5th string G to F# on pedal 5 of the C6 neck. Love it.

[Bengt Erlandsen]

Assuming you have the E's-Eb on LKL then alternative options for P4 would be....

string 6 G-A# & string 5 B-C#

or

strings 1 & 7 F#-F

or

string 4 E-Eb & string 2 D#-C#

or string 10 B-A & string 6 G#-A

Those would be some of my choices worth checking out.

B.Erlandsen
Zumsteel S12extE9 7+7

[Steve Lipsey]

So what do those changes get you, Bengt? I apologize, but it isn't as obvious to me as it probably is to others...

[Andrew Frost]

I raise string 6 G# to A# on zero.

It has many uses, its the #11/b5 on E9, it is a maj7 on B6 and combined with the A pedal it makes an F#9 and can be dropped in out like you would the A pedal of an A chord.

That change would work with just the single string 6 pull although you could lower another string with it to work with those voicings I described.
On my set up that pedal also lowers my 10th string a whole tone, to F#, but my E neck is tuned E9/B6 (G# and B on 10 & 9, then continues as standard E9 from string 8 up. )

On the other side, pedal 5 is shared with the back neck, but I lower string 7 F# to F.
When Es are lowered it relates to a C#9 voicing or Fm7b5 and is a cool C#7#9 when the Es aren't lowered.

[Bengt Erlandsen]

Andrew Frost already explained some of the uses from those changes I suggested.

The 6 G#-A# & 5 B-C# does different things for your chord depending which note you use as the root note. Most commonly it will be a F#(Root) for a F9 on strings 7 6 5 4 3 F# A# C# E G# where your E-Eb lever will turn the b7th note into a 6th for that same chord voicing.

Same change is also very musical when used together with the E-Eb which give you a B6 or G#m7 as a base chord.

The 1&7 F#-F will drop the b7th from the G#m7 into a G#m6(substitues for a C#7) very musical and should be a reconizable sound to the ears.

The 4E-Eb and 2 D# to C# lets you keep the E at the 8 string as root while having the 7th 3rd and 6th available on strings 4 3 2. you can easily switch between the string pairs 4&3 and 3&2. When you combine this string pair skipping idea with the minor 7th voicing found on strings 7 6 5 4 3 with A+B pedals then you have the b7 and b3rd on strings 4 and 3 while also having the 6th and the b3rd on strings 2 and 3
The same change 4 E-Eb and 2D#-C# will work with the C pedal if you use the C# note as a root note. (split tune the E-Eb to get a F note when used with the C pedal)
Bonus is that you can get this contrary motion of the two C# notes if you release both C pedal and P4.

Th last change I mentioned is for a huge A major type sound, with or without the C pedal. You might also want to lower the 9th string to C# with a lever at the same time.

Thats how those changes make sense to me. Hope it clears up some of the ? what they may be used for.

B.Erlandsen

[Steve Lipsey]

Wow...thanks to all of you...my brain is sort of exploding with all the choices, I can see I'll be working my way through at least some of them, and my guitar will be spending a lot more time upside down with me staring at its belly...

Keep 'em coming, if anyone has others...