There was a recent discussion on the forum regarding the descending chromatic run over two octaves by an orchestral string section that is the intro for the Patsy Cline classic “Sweet Dreamsâ€. https://m.youtube.com/watch?v=imafHIq2210
In a nutshell, the conclusion was that it can’t be done convincingly (if at all) on pedal steel in any standard configuration.
Rethinking the tuning to accommodate chromaticism without slurring would limit the range across the strings, but I suppose there’s no reason why you couldn’t have a separate neck for it. How about 10 strings tuned to the half/whole scale?
E Harmonic Minor Copedent
Moderator: Shoshanah Marohn
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Steve Sycamore
- Posts: 351
- Joined: 2 Sep 1999 12:01 am
- Location: Sweden
That Sweet Dreams intro is outrageously tricky on violin or viola also. I did a quick try and my impression was that it might be easier (for me) on PSG but then I've put a lot more time into playing PSG. Maybe the composer specified divisi where half of the violins or violas would play one short subsection and the other half would play the following section of the run and so on. It sounds like the violas enter not at the beginning but some time into the run and play an interval away.
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Steve Sycamore
- Posts: 351
- Joined: 2 Sep 1999 12:01 am
- Location: Sweden
After some number of weeks looking further into this I've decided that the permanent detuning of the G# strings to G is not necessary on the extended tuning guitar I'll using to review the changes (as Bob pointed out). From my original proposal I think I'll keep the C pedal modification (raising the B string to C rather than C#). That gives both another means of playing a half diminished 7 chord, i.e. minor7b5, and another means of playing a minor major 7th chord.
The raising of the D string to D# I think I'll keep also for the time being. I notice no poor sounding resonances at all, in fact the contrary. Having an E minor 7(9) at your disposal is much more useful for my purposes than the dominant when playing in a major or relative minor key. But when switching to harmonic minor the D# adds the final touch that enhances the magic of being in the minor key, as well as making scale runs much nicer to play.
Here are 4 example harmonic minor scale runs I've worked out with only the D to D# string change. Same notes but different ways to play them. All pedals or knee levers used are standard. I'm even more inspired than ever to work with this. It sounds amazing to my ears. The next step is to write and record a composition that highlights the PSG used this way. I'll post on YouTube when that's done.
The raising of the D string to D# I think I'll keep also for the time being. I notice no poor sounding resonances at all, in fact the contrary. Having an E minor 7(9) at your disposal is much more useful for my purposes than the dominant when playing in a major or relative minor key. But when switching to harmonic minor the D# adds the final touch that enhances the magic of being in the minor key, as well as making scale runs much nicer to play.
Here are 4 example harmonic minor scale runs I've worked out with only the D to D# string change. Same notes but different ways to play them. All pedals or knee levers used are standard. I'm even more inspired than ever to work with this. It sounds amazing to my ears. The next step is to write and record a composition that highlights the PSG used this way. I'll post on YouTube when that's done.