G# to F# lower

Tim Tweedale · From: Vancouver, B.C., Canada

Hi. I am saying goodbye to the pedal steel that has served me well for the first year of my playing. One thing I'm going to miss a lot is my RKL 6th string G# to F# lower (it also raises the high F# to G#, but I don't use that part as much). I use this change a lot, particularly releasing it slowly from a sus2 to major chord sound (much like the A+B change, but in 1st position). And also I can go straight from a I to a V chord with the same grip (by lowering my E's to D#s and the G# to F#) which is very useful.
I've noticed that this lower isn't really that common, so I'm wondering, have I gotten used to a kind of a "cheat" with using this change? Should I put it on the next steel I get (probably a Sho-bud purchased from a member of this forum)? I'm interested in your thoughts, from a group of wise steelers who've been picking for many years, to a lad who's been playing the pedal steel for a year now. Thank you.

-Tim

[This message was edited by Tim Tweedale on 06 January 2005 at 11:58 AM.]

Ron Sodos · From: San Antonio, Texas USA

The G# to F# lower on the 6th string is actually a fairly common change among most steel players. It also allows for a half pedal (provided your steel can tune the split pedal, the newer ones can). You press your G# raise to A at the same time you lower your G# a whole step and you get a G. This gives you a minor chord in the 1 position. Listen to Terry Bethel's CD "If We Could" (you can get it here on the forum)and you will hear how beautiful the 6th string lower sounds. He uses it alot in passing chords even when both A and B pedals are down. to Also I have the F# to G# raise on a different knee lever and it helps alot to not interfere with the 6th string lower. Keep on going. If you are using the E's lower and the G# lowers you are way ahead of where i was after a year of playing.
Have fun.................

[This message was edited by Ron Sodos on 06 January 2005 at 12:59 PM.]

Dean Parks · From: Sherman Oaks, California, USA

Tim-

I know you asked for seasoned steel players, which I am not... but as I'm building my own "map" of the thing, I am incorporating E-D# and G#-F# as an alternate to the "A/F" postion, if you know what I mean.

Bonus in this position, if used as a "one-chord" is that the A pedal moves the root up to the second, which is the "Mooney lick", and useful too in more modern sounding ballads also.

Another bonus: in this position (5th string as root), you get a move on the 6th string from the fifth, to a sixth, to a seventh, or just directly from a fifth to a seventh...

And more: Go directly from that position to AB with knees released, and the chord moves down a full step, but the voicing goes up a step.

etc

-dean-

Chris Forbes · From: Beltsville, MD, USA

I honestly think I'd go nuts without that change. I vote for you putting it on your new guitar, as long as you don't mind a hack like me voting!!

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Tim, I have it on my new guitar, but to be honest I don't use it that much. The same I-V change you're talking about can be done by sliding back two frets, and hitting the "A" pedal while raising the "E"s. Decades ago, most steelers got the "dropped 6" harmony sound on strings 5 & 6 the same way, by just using the "A" pedal and sliding back 2 frets, before the "E" raise became popular, and they got the same harmony on strings 4 & 6 by sliding back and engaging the "C" pedal. It's a good change, but somewhat redundant, for me anyway.

Bob Carlucci · From: Candor, New York, USA

I use the G# to F# on pedal 4 for the 3rd string and pedal 5 for the 6th string. I would be dead without these pulls. I have used them for 29 years. KEEP that 6th string pull!!! bob

Tim Tweedale · From: Vancouver, B.C., Canada

Thank you for the replies so far. Donny: what is a dropped 6 harmony?

-Tim

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