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your own personal closed system of musical logic

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Sorry that you feel insulted. That was not my intention

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It has a cost that will hurt your playing if you get past basic I-IV-V harmony. It has to. And I know you're not into jazz, but as I said earlier, your richest jazz harmony is corrupted if you ever take it to that step, and four picks won't correct that, but now I'm repeating myself from earlier posts.

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My only disagreement is that this is the best setup to play all sorts of jazz on the steel. Adding additional notes to the tuning helps, using additional picks (and pick blocking) really, really helps. The universe of playing jazz is immense, there are so many avenues to take, especially on the pedal steel, with no tradition to deal with (in terms of the jazz world, in which the pedal steel has barely existed before Ruben Blades).

Here's an example of a jazz guitar solo which is particularly 'guitaristic' and specifically really hard to get on a standard c6th setup: http://tyack.com/lenny%20breau%20-%20all%20the%20things%20you%20are%20(1)-1.wma

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www.tyack.com

[This message was edited by Dan Tyack on 11 January 2003 at 09:22 PM.]

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Jeff thinks that the basic C6th tuning (along with the standard technique of using thumb pick raking to get more that three voices) is all that's needed in terms of playing jazz on the pedal steel.

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I have a NON-BASIC 11-string tuning, and some very NON-BASIC pedal choices.

  
  LKL    LKV    LKR    4     5     6     7     8      RKL     RKR
D   
G                            -F#        
E                                  +F            
C                                        ++D            -B     
A  +Bb    -Ab          ++B               ++B                 
G                --F         -F#        
E                                  -Eb           
C                                              +C#       
A                                                
F                            +F#               -E             --Eb
C                                            ---A             ++D

You know, you really oughta research your points before making your statements. This isn't the first time on this thread that this has happened.

[This message was edited by Jeff Lampert on 12 January 2003 at 12:05 AM.]

1. Pedal 4 doesn't include the low A to B change. Is this because it would interfere with thumb raked chords?


2. Pedal 5 doesn't include the low C to D change. Why not?


3. The high G is lowered on pedal 5, instead of raised. My new tuning also does this. I did it on a hunch (I've never had a high G before). Could you explain why you do it?


4. I've never seen a lever like your RKR before. Could you explain its use, please?
5. Why is lowering the middle G to F better than raising the middle E to F (which is much more common)?

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Why is lowering the middle G to F better than raising the middle E to F (which is much more common)?

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I've got an 11-string C6 that's fairly normal, there are changes I would like to add, but more often then not, I don't use all I've got. Most of what I end up doing is "horn section" II-V stuff so this works well for me.

      <-  ->  4  5   6   7  8  <-  ->
1  G             G#
2  E      Eb         F
3  C  C#      D                     B
4  A          B          B      Bb 
5  G             F#
6  E      Eb         Eb 
7  C  C#
8  A                             Bb
9  G             F#  F      F   
10 E             D   Eb    (D)
11 C

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Jeff, and I have questions about them:

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