posted 28 July 2000 08:32 AM         

This "Boo Wah" pedal is neat and I know it gives me an instant VI7 chord, but most of the C & W songs I'm playing go from I7 to VI7 in half steps. What else (besides heavy metal chords on strings 10, 9, & 8!)
should I be using this thing for? Is it there for licks?

Thanks,

Greg

posted 28 July 2000 09:00 AM         

Respectfully, I do not know what a VI7 chord is. Could you be referring to a V7 chord?

Assuming your are, there is often an occasion in music to go from a I to a V7 chord. Most licks I have ever seen tabbed always show going from a V7 to a I chord or a I7 to a IV chord.

You rarely if ever see anyone talk about going from a I to a V7 chord. Yet it occurs in music a lot.

Jerry Byrd has a little lick that is perfect for this chordal change and is fits well with the "boo-wah" pedal on a PSG.

He did it on his famous recording of "Cocoanut Grove" in the kick-off lick.

Try this:

1. 3rd fret, (Eb) C6th neck. Strum strings 6, 5, 4 and 3.

2. Then strum strings 7, 6 , 5 and 4.

3. Now move back one fret and go down on the "boo-wah" pedal. And strum strings 7, 6, 5 and 4 again.

4. As those strings sustain, slide on down one more fret keeping the "boo-wah" pedal engaged.

This is what JB did on his recording, because he tuned his bottom C string to C#. And what it achieved was to go from a I chord to a V7 chord in musical progression. (NOTE: JB did not strum the 7th string in step 2 above, just strings 6, 5 and 4).

Once you get used to this, you can use it often.

I don't know who dubbed the 8th pedal the "boo-wah" pedal, but I believe I know why they did. It depicted Buddy Emmons lick in his incredible rendition of "Night Life" perfectly.

The lick could not have been better referred to, than "boo-wah" IMHO

God bless you in what ever you do,

carl

[This message was edited by C Dixon on 28 July 2000 at 09:03 AM.]

posted 28 July 2000 09:17 AM         

Carl, I guess I didn't explain that I7--->VI7 move very well, but I'm sure you've heard it and played it before. Like on E9 if you're in the key of E and you go to an E7 by grabbing strings 9 , 6 & 5 at fret 12, then move down three frets going in half-steps. Wouldn't the chord you land on there at fret 9 be the VI7 for the key of E?

GV

[This message was edited by Greg Vincent on 28 July 2000 at 09:21 AM.]

posted 28 July 2000 09:33 AM         

Hey man great to hear from you! When I saw you with the Derailers you spent practically the whole night on C6 and blew everyone away!

So yes, teach me teach me teach me!

posted 28 July 2000 10:58 AM         

One of the pulls on that pedal raises the 7th string (C) to C#. A popular RKR lever on C6 raises the 3rd string (C) to C#. Jerry Fessenden turned me on to having that RKR also raise the 7th string C to C# as well. So I can raise that string with either the "Boo Wa" pedal or the RNR lever. I find that change on the RKR to be very useful. And of course the pedal itself is definitely a very cool pedal.

Regards,
HH

[This message was edited by Harry Hess on 28 July 2000 at 11:00 AM.]

posted 28 July 2000 11:12 AM         

Hello Pete.

posted 28 July 2000 02:13 PM         

How would you set up a boo wah on this?

My current B6th:

1 C#
2 G#
3 F#
4 D#
5 B
6 G#
7 F#
8 D#
9 B
10 G#
11 E
12 B

Thanks...

P.S. pedals 4,5,6,7, are setup the same as a standard C6th. It also looks like I'll need a heavier gauge string for the bottom B.

[This message was edited by Ric Epperle on 28 July 2000 at 02:17 PM.]

posted 28 July 2000 02:38 PM         

The Boo-Wah would:

-Lower 12 to G#
-Lower 11 to D#
-Raise 9 to C

Pete would also raise 5 to C. This would lose you that particular salty #9 chord but would gain you a clean dom7. I'm trying to make up my mind on that one myself.
-
-
After posting this I remembered what I already knew--the decision is made for me because I don't have any raises left on my 5th string--A pedal, C pedal, and, for me, 5th pedal (traditional 7th pedal?) all raise 5. So that's one less decision for me to worry about.

[This message was edited by Jon Light on 28 July 2000 at 02:43 PM.]

posted 29 July 2000 09:41 AM         

Greg, 'Hold It' also includes the I to VI change you mentioned in your original post, but it goes straight to the VI7+9 -- not chromatically as country tunes often do. The raised 9 chord is a bit 'out there' for most country tunes.

FWIW

posted 29 July 2000 08:44 PM         

You wanta hear what the so-called "Boo Wah," pedal should be used for that particular sound was by none other than Harold "Curly," Chalker. My buddy Fred Layman's right on about that.

A classic lick in that fashion was Curly's intro and ending to his version of the Jerry Byrd clasic song "Steelin' The Blues." That's the first tune I learned that employed that Curly Booh-Wah sound. I dug it then and I dig it now 20 years later. Curly cut it on his "More Ways To Play," L.P.s and with horns accompanying him. It was such a great version, and even though I am a big Byrd fan, Curly's C6th and Boo-Wah stole the show on that tune for me.

Curly was like Julian THarpe, Reece Anderson, Bob White, Zane Beck, Bobby Black, a class unto their own. They each deserve to be in the big SGHOF, if they aren't already put'em in there.

posted 30 July 2000 01:08 AM         

1-
2-
3-
4-     3   5  7  8   10   12  14   15
5-     
6-     3   5  7  8   10   12  14(6)15
7-     3(8)5  7  8(8)10(8)12  14   15(8)
8 -    3   5  7  8   10   12  14   15
9-     
10-
       C   Dm Em F   G    Am  Bdim C

Bob

------------------
Franklin D-10

[This message was edited by Bob Hoffnar on 30 July 2000 at 01:12 AM.]

posted 30 July 2000 07:20 AM         

Okay, maybe Curly didn't have the C note on the bottom and or the pedal? So what, you or I can do it that way.

It's sort of like I tell my students when they are creating art. When they are painting or drawing, sculpting, etc. The end results or the finished product for those of you who don't understand, is what counts.

It doesn't really always matter, technically how you do or play something just so you can cut it! I don't care if Curly stood on his head to play the lick. The man could pick! Just like I have been trying to tell some of you for months so could Julian and Reece.

Some of you guys worry to much about the technical aspects of playing, etc., etc. By complaining, griping, contradicting everything that's posted on here, you have driven a lot of guys off the forum. Others that are knowledgable hesitate to say or post anything. I could care less what you think, or what some of you post.

Bottom line is Curly picked it and thank goodness we've got his stuff on tape. Some of you need to chill out alittle. Boo-Wah!

Terry J. Wood

posted 31 July 2000 11:10 AM         

I've been tuning that boo-wah change for *years* and outside of practice and playing jazz/pop stuff for my own amusement, never ever used it on stage or recording.

However, recently during some home recording for a friend on a Steely Dan-sort of tune, there was a perfect space for a fill with this boo-wah change and chord. It was major grin to deploy and it really fit musically! How many more years till I need it again?

Buddy Emmons recently posted on the forum that he's dropping this change to try something else new instead (I forget what).

Which makes we wonder: granted, I'm guessing most players use E9 most of the time, but how often do you really use this pedal?

posted 31 July 2000 12:40 PM         

I use that position all the time. On a universal, it is found one fret above the pedals down position -- I usually key into it by that relationship.

Bob K: re: Buddy eliminating that change
I believe he eliminated the bottom C string because he wanted a closer voicing on the bottom end on his 12-string C6 (with everything added but the kitchen sink) tuning. Not sure what he's doing on his D-10s. (you out there, E?)

posted 31 July 2000 08:53 PM         

------------------
Herb's Steel Guitar Homesite

posted 01 August 2000 05:06 AM         

---------------------------------------------

A number of players in the Atlanta area have had the "8th" pedal on a knee lever (LKL-C6th) for years. And most of these use the E9th LKR in the reverse direction to get it.

A modification is made on the E9th LKR so when it folds down after taking the guitar out of the case, it locks straight. To put it back in the case, it unsnaps so the knee lever will fold. Mac Atcheson came up with it, and it is really simple and slick. Never fails.

Having it on a knee lever really works great. It can be used with all the pedals. Works particularly well with pedals 5 and 7 and the knee lever that raises and lowers the third string.

Buddy did away with the 10th string C to A change to permit inserting a D note between the middle C and E notes thus sacrificing the bottom C note, as I understand it.

The 8th pedal is used a lot without including the bottom A note. So that loss can be lived with. Yes, "Night life" and "Hold It" need it and a few others, but putting the D note in there makes fast playing on the bottom strings really great. This was always a missing "progression" note (at a given fret), and is nice to have it right there without having to move the bar two full frets up or down. It fits in with the 5th, 6th and 7th pedal chords also.

God bless you all,