The Steel Guitar Forum

One thing that I learned, that is supposedly as Dave Easley technique (tell me if I'm way off base, but I have it on good authority..), is to just use the sus chord made by using the B pedal. I can't remember without my steel in front of me, but I think you root it a major 3rd above (4th fret) your normal root (open)for the key of E, then you can play a minor pentatonic scale in chord form by moving your 3 string grip up and down the pentatonic pattern ,and there are a lot of interesting notes in any position you go to. Does that make any sense?

Gabriel<font size="1" color="#8e236b"><p align="center">[This message was edited by Gabriel Stutz on 27 December 2006 at 12:34 PM.]</p></FONT><font size="1" color="#8e236b"><p align="center">[This message was edited by Gabriel Stutz on 27 December 2006 at 12:36 PM.]</p></FONT>

Gabriel,
If you use your 10th string as a root note , lower your 2nd string a half step and use your B pedal you have a very handy minor pentatonic scale across the neck.

From low to high your voicings will be

Root
Minor 3rd
4th
5th
dom 7th
root
4th
dom 7th
minor 3rd
5th

Those open sounding quartal or sus chords are sitting right in that position.

Dave Easley has a lever (string actually) that moves up one of his E notes on his C6 neck to get the same sort of sus thing.
Dave is the most advanced jazz or rock type player I have ever heard. Its hard to put his playing in context with anybody else.

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Bob
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<font size="1" color="#8e236b"><p align="center">[This message was edited by Bob Hoffnar on 27 December 2006 at 12:55 PM.]</p></FONT>

Bob,

Thanks. Thats a new thing to me. I'll try it tonight.

Gabriel

<SMALL>stay away from 6th chords</SMALL>

In many situations a 6th chord, as well as diminished 7th and some others, will sound dated IF they are used in typically dated harmonic contexts. However, keep in mind that 6th chords are re-spellings of minor 7th chords, which are NEVER dated and can be used in a myriad of hip-sounding ways. Also, otherwise traditional/dated sounding harmonies that are used in less typical harmonic contexts can sound fresh. For example, play a 6th chord over the II7 or V7. Basically, you are creating a 13th chord harmony but not in conventional way. I've used this little trick on occasion and will get a smile from a player or two because of it. Simple but effective. Also, any somewhat dated harmony can be made edgy and outside with one of two embellishments or alterations. Take a G6 chord for example, and lower the B to a A, or raise the B to an C, or add an F note into the lower register, now you have a more modern sound. Just some additional ways of looking at things.

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Jeff's Jazz