C6 : 1st G to F# & 2nd E to D w/P8

David L. Donald · From: Koh Samui Island, Thailand

I have been looking at this double pedal change as an interesting balance between keeping

the top G string range and completeness of 2nd octave,

and the functionality for single notes of the 1st string D in a slightly diferent way.

BE had a 1st string change way up above boowah,
so when I went up to a G and liked it,
I kept the change to drop the G to F#

But for Scotty's show I knew I wasn't going to be retuning a lot of guitars,
so I went back to the 1st D for awhile.
I like both, butf or much different reasons.
And REALLY miss the high G note.

I like the sound of both these high string pulls over p5 and P7

Anybody else try this?

[This message was edited by David L. Donald on 25 September 2004 at 02:37 PM.]

David Mason · From: Cambridge, MD, USA

I've been meaning to add the G to F# but it seems like P5 and P8 together would involve some clashes on strings 9 & 10 - I also raise the high G to G# on P5, so this would require a lot of splits rerodding or a high tolerance for sour notes. I have the high E to D on LKR. I do two-foot P5 and P7, but I hadn't considered 5 and 8 together.

David L. Donald · From: Koh Samui Island, Thailand

I did have the G to G# when I first rasied the 1st D to G, but I found the F# much hipper and more useful.

I generally find that Idon't need a voicing so big/ wide that Bowah and the top note ever conflict

But I can see wanting the D there.
Now it is used in a linear fashion for the classic rolls, but with it matched to the F# it can give a moving tone element to the top of C6

I have a A to Ab on LKR and so with the added E to D,
it creates a chord too dark for even my post bebopper ears.

Also with P7 it can aproximate the E9 chimes.

[This message was edited by David L. Donald on 27 September 2004 at 12:06 AM.]

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