Do you mind sharing with us your E9 setup? You get a lot of jazz, "C6-sounding" stuff on your E9. Are you doing all that with a "standard" E9 copedent or do you have some unusual KLs or pedals happenin'?

My setup is fairly standard with only one exception, in that I lower the 5th string a whole tone by itself. I think several people are doing that also.

Here goes:
Standard Emmons floor pedal setup.

P1: raise 5 and 10 1 tone
P2: raise 3 and 6 1/2 tone
P3: raise 4 and 5 1 tone

LKL toward back: raise 4 and 8 1/2 tone
LKL toward front: lower 5 1 tone
LKV: lower 5 and 10 1/2 tone
LKR: lower 4 and 8 1/2 tone

RKL: lower 6 1 tone
RKR: lower 2 1 tone with 1/2 stop, lower 9 1/2 tone

Pretty much a basic setup. You'll notice I don't raise the 1st or 2nd strings. Several players raise these with the knee lever that lowers the 6th string 1 tone. I like playing a minor chord out of the root position with this lever and the B pedal pushed. When the 1st and 2nd strings are raised you lose the 9th and major 7th tones of that chord, in that position. Many times those are the notes needed for the melody line. I like what can be done raising those strings, but for me I don't want to lose those natural notes.

I play quite a lot off the 9th string both lowered and in its natural tone. I've gone back and forth from my C neck to the E neck trying to learn the same chords as they are on the C neck. Literally doing this one note at a time. The big bass note isn't usually there, but the top three or four notes of the chord are. And those are the notes that give the chord its deffinition. Like the dominate 7th with a flat 9, or sharp 9, flat 5th etc. If you are working with a good bass, and or piano player, they will play those notes your missing anyway. And they will be heard on their insturment better than ours.

I've stumbled onto some positions that were new to me that have caused me to think differently about music in general. For instance I was looking for a 6 chord with a sharp 9th like is played on the C neck with the 8th pedal and using strings 3-5-7-10. What I found was on the E neck the top three notes were on strings 5-6-9, with pedal A pushed. This played a flat 5th down from the 6 position. Or in other words, in the flat 3rd position. Now instead of thinking of a progression of 3-6-2-5-1, I think 3,flat 3, 2, flat2, 1. My son told me this approach is what's called "tri-tones." I never saw it this way on C6th, but I should have.

I personally like the "timbre" of the E9th neck because the smaller and tighter strings have more sustain, and seem to come through better in an overall mix with the band.

Hope this helps and not confuses!
Randy

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http://hometown.aol.com/pulltightb/home.html

[This message was edited by Randy Beavers on 15 May 2004 at 11:48 AM.]

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If you play 'em, play 'em good!
If you build 'em, build 'em good!

This is nothing I invented. I have heard of this theory of playing from blues and jazz players. It just never "sunk in" until now.
You can also enter a chord change from a 1/2 step below. I havn't even begun to go there yet. Music is a never ending journey!

Randy

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http://hometown.aol.com/pulltightb/home.html

[This message was edited by Randy Beavers on 16 May 2004 at 02:55 PM.]

quote:

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My son told me this approach is what's called "tri-tones."

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If you play 'em, play 'em good!
If you build 'em, build 'em good!

Cute, but any more enharmonic jokes of this sort, and I'll move this thread to Humor!

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h0ward
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[This message was edited by HowardR on 16 May 2004 at 08:12 AM.]

quote:

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Another way of looking at it is to enter a chord change 1/2 step above. For instance if the song is in C, and it is getting ready to go to F, think of playing F# instead of the C7th. The F# can be either major, minor, or major 7th in character. In the same thought pattern, if the song is getting ready to do a 2m-5-1 change, I will precede the 2m chord with a flat 3 pattern of some kind.

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Guess I'm a dummy. But I can't make this work very well.Maybe I'm staying in the 1/2 step up position too long.Guess I need to buy your latest CD.But in the mean time,if you have the time could you post a couple of examples in the tab section.Never thought I'd be requesting tab but guess their is a first time for everything.Thanks so much for sharing...............bb

This is all good stuff and thanks Randy for taking the time to print your Copedant...........al

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My Website..... www.cmedic.net/~almarcus/

quote:

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The chord progression around this lick is F7th, to a A flat 7th, to a G minor. This is what I'm talking about by entering the 2 minor from a 1/2 step above. When you slide the 9th string down to the 4th fret and play that arpeggio you are playing an A flat 7th lick.
Randy Beavers

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1 ________________________________________________________
2 ________________________________________________________
3 ________________________________________________________
4 ________________________________________________________
5 __6_______6____________________4A_4-3___________________
6 ____6B______6B-6_____________4________3B-1B_1__________
7 _______6_________6____________________________1_________
8 ___________________6-5_____4____________________________
9 _______________________5-4______________________________
10_______________________________________________________

If I'd seen this before I watched you at Chattanooga, I wouldn't have had such a culture-shock!

Great thoughts! One of my favourite 'passing chords', moving from, say, D major at the fifth fret to G7 (or G9) at the third, is to start pedals-down at the fifth, of course; then hit 9, 7, 6 and 5 at the fourth fret with 5 lowered a half-tone. Let off the 'knee' as you slide to the third. Continue to the first fret, hitting 8,7,6,5 with A and B pedals, and lowering the 8th.....

The more I learn, the more that getting a PSG seems like winning the Lottery...

Roger

[This message was edited by Roger Rettig on 09 July 2004 at 10:55 AM.]