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Posted: 27 Jun 2008 8:10 am
by Brian Henry
DYLBE
Posted: 27 Jun 2008 10:09 am
by Twayn Williams
The B+C pedals is not my favored way to get a minor chord. I prefer the A pedal or the A+B pedals (m7). I've recently reset my RKL to lower both G#'s to G and I really like that change a lot.
Because of this thread, I've been exploring what I can do with the C pedal and I'm finding some really nice melodic things. I've never seriously considered removing the C pedal or changing how it works, outside of possibly connecting the 8th string E to it as well.
Speaking of which, outside of making the C pedal stiffer, why isn't the 8th string E connected to the C pedal by default???
Posted: 27 Jun 2008 11:04 am
by b0b
Twayn Williams wrote:Speaking of which, outside of making the C pedal stiffer, why isn't the 8th string E connected to the C pedal by default???
On a push-pull Emmons you can use B+C with your E lower lever to get a wonderful 9th chord (B9). The E lever lowers the 8th string but it doesn't affect the raised 4th string.
Raising the 8th string to F# can cause a sympathetic vibration on the 7th string. This can be unwanted nuisance - you might need to "pinky block" the 7th string once in a while.
Posted: 27 Jun 2008 12:27 pm
by Twayn Williams
b0b wrote:Twayn Williams wrote:Speaking of which, outside of making the C pedal stiffer, why isn't the 8th string E connected to the C pedal by default???
On a push-pull Emmons you can use B+C with your E lower lever to get a wonderful 9th chord (B9). The E lever lowers the 8th string but it doesn't affect the raised 4th string.
Let's see:
B(1) - D#(3) - F#(5) - A(b7) - C#(9) - F#(5) - A(b7)
Ok, that makes sense! Thanks!
Posted: 27 Jun 2008 12:42 pm
by b0b
Yeah, I used that a lot when I had an Emmons. It's a really classic voicing.
Posted: 27 Jun 2008 12:53 pm
by Jonathan Cullifer
Can't live without it...Lots of single note and two note stuff that would be impossible without it. If I was just playing chords, maybe, but not a lot of phrases.
Posted: 27 Jun 2008 3:33 pm
by Chip Fossa
One of the greatest, still, Lloyd Green, used/uses the B-C pedals quite extensively.
I always use "Sweetheart Of The Rodeo" by the Byrds as a classic example of the B-C combo. Both Lloyd and JD Manness on this classic LP - it was a pivotal album in my learning experience.
Just can't get those squashes and lift-offs with anything other than a B-C pedal setup.
The archives must be pretty well documented with this topic, I'm sure. The B-C pedals has been covered quite extensively in the history of the SGF.
Posted: 27 Jun 2008 6:17 pm
by Twayn Williams
Twayn Williams wrote:
B(1) - D#(3) - F#(5) - A(b7) - C#(9) - F#(5) - A(b7)
Alas, this actually doesn't work on my GFI
This is what I get instead:
B(1) - D#(3) - F#(5) - A(b7) - C#(9) - F(b5) - A(b7)
With the F(b5) being sharp. Still, without the 4th string I get a nice B9 anyway...