1--3~~3##~~~3----5-----8~~~~~8##--------------
2---------------------------------------------
3--3~~~~~~~~3B---5B----8B~~~~8----------------
4--3~~~~~~~~3C---5C----8C~~~~8----------------
5---------------------------------------------

That lick plus several other uses for F# to G# are in that tune, particularly in that solo.

The other change (D# to C# on 2) can give similar contrary motion. It was made famous by Buddy Emmons years ago on several Ray Price tunes -- most notably 'Touch My Heart'. Search for 'Emmons cross' (what many call that lick) or 'Touch My Heart' in the tab section and you should find examples. I believe it's also on the Rebel and Ricky site. It's also on Buddy's course 'Half Duzin' Shuffles'.

If you can't find them, EMail me and I'll help as best I can.

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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

Raising the F# to do unison work with the third string is nice and can be a real haunting sound if done properly. Listen to Paul F's turnaround on Alan Jackson's Farewell Party on Ricky and Rebel's site to get the full gist of that.

Also, two examples of lowering the D# down two tones are 1. Another great Paul Franklin turnaround of Keith Whitely 1988 "I Never Go Around Mirrors" also available on Rebel's site and if you have Lloyd's latest album check out the break on the tune So Sad. Lloyd starts with the 2nd string lowered two tones and brings it up slowly to the D#. It will make the hair on the back of your neck stand up it is so well done.

One of the guys here has tabbed that part of the break if you want to check it out. The phrasing is pure Lloyd; sounds so simple and so hard to do.

Hope this helps.

Regards,

That is the first time I have heard you play. Friend you are incredibly good! Wow. I have listened to it now about 5 times. And each time I like it better.

You got some touch pardner. I love your choice of scale notes and phrasing. And the way you walk up from deep base to high treble is delightfully beautiful. I do not believe anyone could ever be dissapointed in calling upon you to play.

May Jesus nurture your talents always,

Bill, It probably wasn't a typo. The F# to G is a different change altogether that many players use. I used to use it to get a chromatic scale like this:

1--------------------0~~0#-----------------
2-----0b~~0--------------------------------
3---------------------------0~~0B----------
4-------------0~~0#------------------------
5--0A--------------------------------------
---C#--D--D#--E--F--F#--G--G#--A

The other, more common, usage is to get a pedals down dom7 chord. Hold down A+B and raise the 1st string to go from A or A6 (using the 1st string) to A7. I never found enough use to mess with a half-stop on the F# to G#, but some players do. You can get the same 6th to b7 movement by dropping back two frets with the E's lowered to D# for the 6th chord and raising the 6th with the B pedal. I sometimes pull the first behind the bar for a half-step or else just 'half pedal' the F# to G# pull.

Hope this helps.

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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

Slightly different timbre and another position to do the same things while other notes /chords are more easily available.

Lots and lots more things to do with both changes. Just experiment and have fun.

Bengt

Picking the third string, then the first string... immediately engage the F#-G# raise, and then release it... then continue descending the scale. Has a nice slinky sound to it.

That, and you can get an additional V-I change, at the root fret of whatever the one is... in E: pick strings 1, 4 and 5 with the E-lower lever engaged, then release the E-lower while engaging the F# raise.