I call the 6&7p chord when used as a 7th chord to move from the 1 to the 4 chord the
"Curly Chalker chord" for my admiration for him.

I read that Mr. Chalker introduced "Quaking".
Is this when you shake the bar to make a big vibrato sound when playing a big jazz chord???

quote:

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Yeah, what is 'boo-wah'?

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"Fessy" S/D 12, 8/6 Hilton Pedal, Sessions 400 Ltd. Home Grown E/F Rack
"ROCKIN COUNTRY"

and I beleive that was one of the criticism's by BE on this session (that he had to use a single 12" speaker).

Now if you want to hear the "Boo Who" pedal, come hear me playing with Amee

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Dave Wren
'96 Carter S12-E9/B6,7X7; Twin Session 500s; Hilton Pedal; Black Box
www.ameechapman.com

Speedy West used the "crash bar" technique which took the “boo wah” to another level. He would hit his strings with his bar (the tone control on full bass or full treble), pick up the bar and re-"crash" it on the strings after he had moved his tone control to full treble (or bass). I suspect that Speedy used a Fender Volume/Tone foot pedal for this technique other than the tone control on his guitar, but I’m not certain. However, he was the master of this technique and it is surely his trademark lick. I've heard many steel players try to mimic him, and some are pretty good, but no one I ever heard could take it to the heights that Speedy did. He could go all the way up the guitar's neck repeating this at each fret.

"Quaking" is a term I did coin (along with "shiver"). I was looking for words that might describe the movement of the bar (off of the main fret chord) being voiced by Curly. For “quaking” he would pick a grip (3, 4 or more) of strings (in any chord) that needed resolution to the next chord. Instead of employing a typical 7th chord or augmented chord (as would be typical to emphasize that a chord change was about to occur), he would move his bar up two then down two frets from his "home base" chord. This would put the listener on notice that a change was looming for transition to the next chord. It created anxiety and tension, demanding that the change be made. This was employed typically when moving from the 1 chord to the 4 chord or from the 5 chord back to a 1 chord. So, I just selected "quaking" as best describing this barring technique.

"Gutting" was something that Curly did a lot. He didn’t invent the technique, nor did I coin the word. I suspect that some organ player coined the word, because organists employ it all the time. Organists were the first musicians to need a volume pedal, so surely caught on to this impressive sound (and most likely labeled it). “Gutting” was probably Curly’s signature lick. He simply picked a group of strings (always a chord) with the pedal volume backed off. Once he picked the strings (with gusto incidentally), he would quickly increase the volume well beyond what might be considered reasonable, then as quickly back off the volume (with his volume pedal). That gave a chord an explosive sound. He loved this sound and sprinkled it liberally all over his recordings.

“Shiver” was another term I had to coin in order to describe Curly’s playing style. This is just a slightly exaggerated form of tremolo (slow bar roll over a fret). Curly would move (not roll) the bar very fast above and below a fret, the same as is done to create the bar tremolo effect. He changed this effect because of the fast sliding movement of the bar. Curly seemed to prefer his brand of tremolo to the Hawaiian style so typical of his day.

wow ! after readin' all this i'm gonna have too learn the BooHooHoo & the BooBoo too

Maybe the tone one is "wah wah", and the pedal change is "boo boo"