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Author
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Topic: A-Ab on C6 why/where?
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Bengt Erlandsen
Member From: Brekstad, NORWAY
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posted 06 November 2003 04:32 AM
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I have been exploring different changes/combinations Levers/Pedals on my C6. Setup = Buddy Emmons (5peds - 4levers)
Question is about the LKL 4string A-Ab.
I have found the Aug-chord. Also there is a nice split together w P7. Which means I can go from P6 to P7+LKL and stay in position. Is there a reason for why The 4string lowers on LKL and raise on LKR or can I switch them without messing up some combinations I havent found yet. Surely is a reason, but I don't see it.
So can someone help w what Pedal combinations is used together w LKL(4 A-Ab) and LKR(4 A-A#) Right now my E9neck is gathering dust. C6 is way too much fun to play. It should be called rock/blues neck in addition to Jazz-neck. Bengt Erlandsen
ZumSteel S12 E9ext
JCH D10 |
C Dixon
Member From: Duluth, GA USA
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posted 06 November 2003 06:41 AM
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Not sure when or how Buddy uses his A to Ab lever. I can only tell you that I would not be without it and here is why.Used with the 6th pedal and picking strings 2, 3 and 4 gives one, another minor inversion on those strings; that has long been needed. In fact that minor inversion is one of the trademarks of Jerry Byrd. He discovered and pioneered it long ago. I dare say there is NOT a single recording that he has not used it on. In addition, it is such a nice way (as you said), to get an augmented on the same strings. Again, a very needed place for an augmented chord. Having said that I feel BE may not use any of the above too often; and here is my thinking. Almost everything he does on that incredible C6 tuning makes use of "that" sound that has become so associated with the bottom neck on D-10's. IE, "dissonance". And that Ab note is just one more place where it rears its "pretty" head. My opinion only; since I do not know, carl |
John McGann
Member From: Boston, Massachusetts, USA
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posted 06 November 2003 07:59 AM
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A to Ab (4th string lower):w/ C# lever- C#m triad on 2 3 4
w/ p6- Fm7 9 with beautiful minor 2nd between G and Ab
w/p5- D7 #11 (or sub V Ab7)
w/p5+6-Ab7 13 (or sub V D7#9) I'm sure there are more![This message was edited by John McGann on 06 November 2003 at 08:00 AM.] [This message was edited by John McGann on 06 November 2003 at 08:18 AM.] |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 06 November 2003 08:05 AM
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I often think "why do I have that?", but every now and then I'll be playing along and discover that I need that note. It's usually when a chord has a moving tone.I use it for the obvious augmented chord now and then too, but I use the C-C# more often for augmenteds (F root).
There's a comfort in knowing that all of the notes of the chromatic scale are available at every fret. ------------------
 Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax |
Bengt Erlandsen
Member From: Brekstad, NORWAY
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posted 07 November 2003 02:38 AM
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Thanks for the replies.
 for the minor A-Ab + P6. Knows where that will come in handy.
for the minor w (4 A-Ab) & ( 3 C-C#) really helps connecting the open chord with the 3frets up (P8 + RKR).
for the chromatic note info. Found all notes from F#(P5) thru F(P6).
Could even extend that range of notes downwards if I had a reverse P6(kneelever) and even further if I had a raise on 7th str C-D. I might try moving the P4 pullrod from string 4 to string 7 so P4 will do the same as P7 but in the low register.Bengt Erlandsen[This message was edited by Bengt Erlandsen on 07 November 2003 at 02:42 AM.] |
James Winwood
Member From: New York, New York
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posted 07 November 2003 12:38 PM
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If you get into jazz chord/melody, you'll start seeing it valuableness. |
John McGann
Member From: Boston, Massachusetts, USA
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posted 07 November 2003 01:13 PM
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Here's a nice progression (not that unusual although it analyzes a little funny!) inspired by the mighty Curly Chalker, showing use of both 4th string raise and lower levers:Strings 7 6 5 4 key of Ab Fret 12 p6+ 4th lower (Abmaj7) (I maj 7) C Eb G Ab
Fret 11 p6 (Bm7b5) (bIIIm6) B D F# G#
Fret 10 4th raise (Bb7) (II7) Bb D F Ab
Fret 9 p7 (Amaj7) (bII maj7) A C# E G# and maybe resolve to an Ab triad strings 7653 fret 8. Of course the cool thing is the G#/Ab note remains on top, since that 4th string can be altered in 3 ways via the 1/2 step raises and lowers and the whole step raise on p7- not to mention the note in "bar position"![This message was edited by John McGann on 07 November 2003 at 01:24 PM.] |
Bengt Erlandsen
Member From: Brekstad, NORWAY
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posted 12 November 2003 02:16 PM
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I see the value for why the A-Ab is there but I still wonder why it is on LKL instead of LKR ( and A-A# beeing LKL ). When I try the following voicings things would seem to be a lot easier if the A-Ab was to the left and the A-A# was to the right. Or am I playing the voicings in awkward positions???
Still not familiar with where to find all the chords on the C6 neck.
E7 A9 D7 G7 G7#5
1-----------------------
2-----------------------
3---4---4---2##-2---2#--
4---4#--4---2#--2---2---
5---4---4---2---2---2---
6---4---4b--2---2b--2b--
7-----------------------
8-----------------------
9-----------------------
10-----------------------
LKR P6 P7 P6 P6
LKL RKR
(split)or
E7 A9 D7 G7 G7#5
1-----------------------
2-----------------------
3---4---4---------------
4---4#--4---5##-5---5#--
5---4---4---5---5b--5b--
6---4---4b--5---5---5---
7-----------5#--5---5---
8-----------------------
9-----------------------
10-----------------------
LKR P6 P8 P5 P5
P7 LKR
(P4)
Bengt Erlandsen
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