My strategies for hitting dominant-sounding stuff so far are limited to: string 9, A pedal mashing for pitch 6/slide up 1 fret to pitch 7, and F lever with/without A pedal 3 frets up from "home"...

The DOM7 section is out of the Eb lever position. C is at the 1st and 13th fret.
This is the basic lick

5-----------------------------
6-----------13~13B------------
7--------13-------------------
8-12-13-----------------------

Buddy often uses this lick repeated 2 or 3x
All notes are eighths except the last which is a quarter

I'll just post a snippet that starts out on a minor triad and pulls the b3 up with the bar like this (in C or C7 -- straight eighths) -- This is an idea I lifted from PF

5------------------------------------------
6--11--------------------------------------
7--------11-------------repeat-------------
8-----11-----11~12-11----------------------

5------------------------------------------
6--11--------------------13~13B------------
7--------11-----------13-------------------
8-----11-----11~12-13----------------------
and then you can go on up to the A+B position

5-----------------------------------------13--------
6--11--------------------13~13B----13~13B----13B~15B
7--------11-----------13--------13------------------
8-----11-----11~12-13-------------------------------

There are a million ways to use those ideas

[This message was edited by Larry Bell on 26 June 2003 at 06:33 AM.]

Most of the speedpicking stuff I do uses the b7 and I've got horizontal stuff, vertical stuff, and everything in between. Problem is it turns into a lesson (or even a short course) when I try to extract more than a short, simple lick because everything ties into everything else. An objective should be to be able to start at (e.g, in G) the third fret (or even the first fret) and work your way up to the 22nd fret and back down, varying your path as many ways as possible.

1_________________________________________________________________________
2_________________________________________________________________________
3_________________________________________________________________________
4_________________________3____________________________3__________________
5___10a____10___8___5a____3_______10a____8a___8___6____3a_________________
6______10b___10___8___5b__3__________10b___8b__8___6___3b_________________
7_________________________________________________________________________
8_________________________________________________________________________
9_________________________________________________________________________
10________________________________________________________________________

1_________________________________________________________________________
2______3_________________________________3L_______________________________
3_________________________________________________________________________
4____3_________________________________3__________________________________
5________3a_~_3__________3__________________3a_~_3___________3____________
6________________3_~_3b____3b_~_3___________________3_~_3b______3_~_3b____
7_________________________________________________________________________
8_________________________________________________________________________
9_________________________________________________________________________
10________________________________________________________________________

Kinda sloppy and quick & dirty, but you'll get the idea, I think.

JEFF, OLD BUDDY
Long time no see.
Good to see you posting again.

------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

[This message was edited by Larry Bell on 26 June 2003 at 10:05 AM.]

I can honestly say there hasn't been ONE TIME that I've jumped on the forum that I wasn't FLOODED with great advice and ideas. You guys are TOO MUCH! Sincere thanks to all of ya - especially Larry for the tab/great audio clips (and Jeff for the tab/headspace adjustment!)

The production run ended yesterday, so it's back to the occasional smoky club, I guess!

And I had the same experience as you did - the musical director had never heard Ray Price's version of "Night Life"...My chart for that tune had NO STEEL whatsoever! HUH?! But all in all, I guess I should be thankful I wasn't being asked to "play it like Emmons!"

[This message was edited by Nathan Delacretaz on 30 June 2003 at 10:44 AM.]

1---------8-------------------------------
2--------------------------------
3---------------------------
4---8--------7F----7-----7E----6E--------
5---8A-------7A----7A----7A----6------------
6---8B-------7B----7B----7B----6B----------

Pick--Pick-pick (Don't pick the rest)

E===knee that lowers E's to Eb
F=== " " raises E's to F

Enjoy,

Paul

[This message was edited by Franklin on 30 June 2003 at 06:23 PM.]

It's really cool you're hangin' out with us.
Thanks!

Also, if you put [_TAB] (without the underscore) before and [_/TAB] after (also no underscore) it'll come out looking like this and things line up better. You'll get the hang of it.

1---------8-------------------------------
2--------------------------------
3---------------------------
4---8--------7F----7-----7E----6E--------
5---8A-------7A----7A----7A----6------------
6---8B-------7B----7B----7B----6B----------
  Pick--Pick-pick (Don't pick the rest)

KEY:G  Play over G7 chord
'b'=second string flatted to D
'B'=B pedal
'C'=C pedal
1-----------------------------3---------3------
2--------3b--------3b--------------------------
3--------------------------------3B~~3---------
4-----------3C~~3------3~~3C-------------------
5--3~~3C-----------------------------------3---

Here's what it sounds like slow
Here's what it sounds like faster
(the first 'faster' version is fast eighths or sixteenths / the second is quarter note triplets)

You can also do it in double stops like this

1-----------------------------3---------3------
2--------3b--------3b---------3b--------3b-----
3--------3B--------3B------------3B~~3---------
4-----------3C~~3------3~~3C-------------------
5--3~~3C-----------------------------------3---

Here's what that sounds like slow
Here's what it sounds like faster
same deal on the sixteenths then triplets

Thanks, Miguel -- I owe you a lot.

------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

[This message was edited by Larry Bell on 30 June 2003 at 08:41 PM.]

I've been working on that one about half the "non-paving" day today. From variations three frets up. two frets down, and some places it just "doesn't work". ( Those, I might pull on my hot young Tele Monster/band leader, Monty Moss.. ) (I've 'splained a couple of them that he really likes, and I just told him that I use it because nobody could ever understand it, and they make no musical sense whatsoever, and you play them so fast that nobody will ever know. (That's the way "minor chords" used to be thought of..))

I'm finding that you can move it up One Fret with strings 2,3,5 ( kl on, C ped. off)find diminished triad you move up three frets and finish at the fifth fret up with the kl off the C pedal "pattern" to resolve , (or like the MS thing, the I triad two frets up with pC and rl lower.) One of those you can play at 120+.

I know this is a "computer question", but what's the "easy way" to record mp3s? (I know how to edit and post them) A line into your puter from pre-out 1/4" to 1/8", From tape recorder to 1/8" line in, or mike straight to Cakewalk?

Inquiring minds....

EJL

[This message was edited by Eric West on 30 June 2003 at 08:57 PM.]

quote:

---

You know, Larry, this is getting creepy....

---

For recording, I use SoundForge. One really nice feature on my Boss GT-6, in addition to the best amp modeling I've ever heard, is digital output. I just go right into the S/PDIF input on my SoundBlaster card. You could do the same with a line out, though. You could also just use the Windows SoundRecorder application, but I paid a bundle for SoundForge and it has every feature you'd ever want in a 2-track recording and wave file editing program. Hope that helps.

Nathan this is a twist I use on a standard lick that may get overlooked. Its a nice move.

1________________7G_slide_6_________________
2________________7_______6_________________
3___________________________________________
4___________________________________________
5___8A_____7A__Let all strings ring_________
6___8B_____7B_______________________________

(Release A pedal at the end to
resolve to F7th) This lick is F to F7th

(G====raises the F# to G)

Paul

[This message was edited by Franklin on 30 June 2003 at 09:18 PM.]

I've got SF Foundry too. I must have paid a fortune for it.... Q Base, and a couple others too that are just too much work...

I'll see if I have an adapter if I get off in time tomorrow.

The Worst Memory or my Childhood?

I'll never tell.....

(Maybe if I play loud enough or fast enough the lambs will stop screaming...)

Thanks.

(Talk about being around when history is being made....)

EJL

[This message was edited by Eric West on 30 June 2003 at 09:09 PM.]

1-----------------8~~~6---------------
2-----------------8b~~6---------------
3-------------------------------------
4-------------------------------------
5--8A~~~~~~8 1/2A~~~~~6---------------
6--8B~~8~~~8~~~~~~~~~~6B--------------

BTW, do you have the F# to G change on your guitar or do you 'half-lever' the F# to G#?

------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

[This message was edited by Larry Bell on 30 June 2003 at 10:09 PM.]

Larry, I can see where having it tuned to D makes these moves more complicated. Let me show you the reason I play it differently. First and foremost it takes me through the dominant 7th positions where altered dominant 7th licks are easily found.

(I view the dominant 7th position as three frets. In the Key of F pedals down I see frets 7, 6, and 5 as having all the leading tones for altered sevenths).

(Play the first 2 notes the same and then alter the lick with each variable below)

*(S)--- sustain, slide, or don't pick

*g---raises F# to G

*G--raises F# to G# and Eb to E
If you don't have the Eb to E the variables will still work

1____7___7g(S)___6(S)____________________
2____7___7(S)____6_______________________
3________________________________________
4________________________________________
5________________________________________
6  Remember 5 & 6 strings should be ringing

1__7g__7(S)__6(S)_________________________
2__7___7(S)__6(S)_________________________
3_________________________________________
4_________________________________________
5_________________________________________
6__5 & 6 ringing__________________________

1__7____7g(S)___6G(S)___________
2__7____7(S)____6G______________
3_______________________________
4_______________________________
   5 & 6 ringing

Also, on any tab pressing and releasing pedals differently from the paper should always be explored as you have done.

Paul

Edited to get the tab down.

Finally

[This message was edited by Franklin on 01 July 2003 at 05:47 AM.]

You guys keep it up and I'll go broke treating you all to enchiladas the next time you're in Austin... ha

...and good to hear from you, Paul. I haven't stopped playing steel since I heard "She Was" - so hat's off to you - and thanks for the great tips.

This is a speed lick with some voice leading. It goes from C7th to F. This is one of the licks I use for playing slightly outside on bluegrass tunes.

This lick creates harmonic tension. Notice by disecting its theory, I use the augmented 5th along with the whole tone scale blending them with some of the stronger notes of the chord progression. Its the weaving in and out that makes this riff work musically.

        (pART ONE)
5__________________________________________
6_________10B____________11B___11(S)_______
7__9__10______10B___11B________________11__
8__________________________________________

       (part two)
5______________11__13_____________________
6__________12__________13B__13(S)_________
7______12_________________________13______
8__12_________________________________13__

Learn it as all eighth notes but it doesn't have to be phrased that way. The note combination is most important.

Hope you like it,
Paul

[This message was edited by Franklin on 01 July 2003 at 08:17 AM.]

quote:

---

posted 05 June 2003 05:55 PM
On the last half of the song Paul does this lick over and over again, how?

Larry Behm posted 06 June 2003 06:04 AM
Can't tell you exactly note for note, but from watching the DVD of "On the Night", Mr. Franklin uses the hammer on and off technique for this lick. Sorry I can't be more precise.

---

6__0B__2B(h)_____2B__0B(H)_________________
7______________________________2B___0B(H)__
8____________2B____________2B______________

*(h)=hammer on/don't pick

*(H)=hammer off/don't pick

------------------
www.newslinkassociates.com
www.drewhoward.com

Tack so mycket - OK, I know that's (poorly executed) Swedish, but it's as close as I can get to Norwegian!

That E-to-F raise without the A pedal is something I'm just starting to explore for dominant chords. Of course, it's great! Problem is training that left foot not to mash pedal A instinctively!