The Steel Guitar Forum

My GFI Expo came with the standard setup except RKL raises strings 1&2 but instead of lowering string 6 it raises string 7 from F# to G. I struggled to grasp the concept until I pressed the A&B pedals, engaged the RKL and got a Dominant 7th chord. I like it! How many of you use this change?

Rob, some peeps like raising it to G# as you stated in your subject line. I pull to G#. You get a major 7th chord. I also have a half step feel stop on that pull so I get what you mentioned, the Dom. 7th and the prettier major 7th. I would also put the first string(same note, octave higher) on that lever.Enjoy-Ron

Ron Pruter wrote:Rob, some peeps like raising it to G# as you stated in your subject line. I pull to G#. You get a major 7th chord. I also have a half step feel stop on that pull so I get what you mentioned, the Dom. 7th and the prettier major 7th. I would also put the first string(same note, octave higher) on that lever.Enjoy-Ron

What Ron ^ said... Robert I think once you're used the 7th string raise vs the 6 string lower at least with the 1&2 string raise you won't run into the conflict you'll find with the 6th string lower on that lever., and yes that 7th string open for the 6th (w/AB down) the Dom7th raised to G with AB down and with the 7th raised to G# a really nice dissonant Maj7th.

I go so far on that same lever and raise my 9th string a half as well. It's like having 3 levers in one. The top 2 strings do their own little thing,
that 7th string with AB pedals gives a (4) 6 a (4) 7 and 7th to G# a (4) dom7 and a (1) Maj 7 with the 9th string raised a half without pedals. Very functional Lever.

Been raisng my F#s to G for 50+ years. That was considered a "standard" change back then. It was often what builders put on the 4th knee lever at the factory.

Had that same change on a Dekley and a a Sho-Bud, both made in the 70's.

I believe B + RKL split to get G on 6 is more common. On a GFI the split is done with an additional pull rod.

That change opens up some very useful chords and positions. In addition to a dominant 7 with A+B, I've found that change to be very useful when using the 9th string as the root note. It's a nice way to get I-IV-V changes two frets up from the no-pedals position with some cool extensions. And in combination with the A pedal you can get a minor 11th at what would normally be the no-pedal major chord position.

I have that change on both 7 and 1, and I love it.

I just discovered that using the same grips that I would use for a major chord with the Es lowered, I get a minor at the root position (8th fret for C).

But more importantly, it gives me access to easy chromatic runs in both open position and pedals down. In open it gives allows you to play with the 2 / minor 3rd, and in pedals down, it gives you that maj 6 -> dom 7th.

I love that stuff, so the change is staying.

Another vote for raising the 7th to G#!

I find I can easily half-pedal that KL (my LKL1) if I want the dom 7th with pedals down.

Raised to G#, there's a lovely maj 7th with a pleasing dissonance between the 7th and 6th strings. In my opinion, this change is more versatile than the more-commonplace 6th lower split with the B pedal.

makes a very nice min11 at root position with B pedal down, as alluded to in the thread.

This is a confusing thread. F# to G or to G#

John Hyland wrote:This is a confusing thread. F# to G or to G#

but instead of lowering string 6 it raises string 7 from F# to G. I struggled to grasp the concept until I pressed the A&B pedals, engaged the RKL and got a Dominant 7th chord.

If he was raising 7 to G#, he wouldn't get the dom 7th chord he mentioned with the A & B pedals. It would be a major 7th chord.

That's true, Richard, but half-engaging my 7th string-raise with pedals down does give me the dominant seventh.

Another benefit is having the whole-tone raise at the 'no pedals' position: the equivalent of the bend we get with our A pedal.

I also have the very pleasing option of the maj 7. If I simply lowered 6, that wouldn't be available.

John:
I believe the thread initially focused on either raising the 7th or lowering the 6th. It's got diverted along the way but that's still the basic question. For me, it's far better raising 7.

I don't like the F#to G on its own..I pull the first string up a full tone.. However, over the decades, I have found that I actually use the F# to G change quite often, but actually just "half pedal" the F# to G# lever . Over time it became very natural, and in tune, and I didn't have to "waste" a lever to get it... bob

Exactly.