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Tele-Bender-Blaster-Caster
Line 6 Amps
www.jimwalkeronline.com
Steelin' Again Too!

F# D# G# E A F# F# E D A

I've looked at every note as a root and can't find anything that resembles a diminished triad or diminished 7th chord.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps

Move it up or down a minor third and you will get all the notes, but I'd call it a stretch to get F#dim out of F# A and D#.

Just move up one fret and hit the F lever
On the 1st fret, from 9th up it would be
D# F# __ A C F# A
if you lower 2 1/2 step there's another D#

The Franklin pedal is much more about pivot notes to me but whatever floats your boat.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps

[This message was edited by Larry Bell on 12 January 2006 at 12:14 PM.]

quote:

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Well . . . yeah, if you leave out the b5

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Well, I was thinking more Eb, F#, A - on strings 8, 7/6, 5 - as a movable closed-voiced (1, b3, b5) Eb dim triad. The dim7 is just not there, only the triad. I didn't mention this to advocate it as primary usage, just that it's there. I prefer A+B+Eb+X, which gives the full dim7, or the F-lever approach you mentioned.

[This message was edited by Dave Mudgett on 12 January 2006 at 01:47 PM.]

somehow when I saw Eb Gb (F#) I saw a MAJOR THIRD so I figured the root must be one of the other notes

(not sure if that's too much or NOT ENOUGH coffee)

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps

i've never had one but i'm gettin' it on my new Zum so i can discover & study the phenomena

[This message was edited by CrowBear Schmitt on 13 January 2006 at 02:17 AM.]

Paul's CD does explain it all with some great examples. You can't go wrong with any of his instructional material.

I put the 5 and 10 lower on the RKL lever so I can use it with the 4 and 8 lower lever (as suggested by Paul). Off the bat it gives you a different voicing for the V7 chord and some nice melodic possibilities. I'd say get that CD to get a good picture of what can be done with it.

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http://www.johnmcgann.com
Info for musicians, transcribers, technique tips and fun stuff. Joaquin Murphey transcription book, Rhythm Tuneup DVD and more...

[This message was edited due to misinformation by John McGann on 13 January 2006 at 06:30 AM.]

quote:

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I did not do away with the G# lower on the fourth pedal. I also lower it to E.
I skip the 6th string and raise the 7th a whole tone when I desire the split fourth pedal sound.
KEY of "F" slide whole phrase
4---8------6-------6(K-lower)---
5---8(P4)--6-------6------------
6-------------------------------
7---8(KW)--6(KW)---6------------

K-Lower = lowers 1/2 tone
KW = Whole tone raise
P4 = is pedal that drops 5,6, and 10 a whole tone.

Paul

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I use that approach on one of my guitars and have the true split on my Sho-Bud. It's just a different way of thinking about the G# to F# (letting off a whole tone raise on 7). Granted, you can't raise the G# as one could on the B pedal and then lower, a la Emmons, with the unchanged 5th string, but I'm a bit surprised to hear that Paul has pulled that change off P4 since he uses them together pretty often.

Paul????

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps

My pedal 4 lowers 5, 6, and 10 a whole tone. I taught many ideas for placement and pointed out pro's and con's on the CD so that players could choose for themselves what's best for their personal situation. I also suggested for those that have room on the guitars to split them in the way that Tommy does. As Larry pointed out I get the splits by combining my 4th pedal with the F# to G# raise and skipping strings.

If anyone wants to order my new lessons they are 20.00 each. Here are the titles.

1. The PF Pedal 4 change

2. The F# to G# and Eb to E change

3. Improvising through minor chords

Stigitar Records
PO Box 1467
Goodlettsville, Tn 37070

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http://www.johnmcgann.com
Info for musicians, transcribers, technique tips and fun stuff. Joaquin Murphey transcription book, Rhythm Tuneup DVD and more...

Thanks for your help.

Allan,

I'll bring them to the show.