This is a very popular change and is fast becoming a standard. Lower both B's to Bb with a LKV. (Left knee vertical)

The most commmon use for this change is to get a great 9th chord two frets down from a given major chord. Example:

1. Key of C

2. Move down to the 6th fret and engage that lowering of 5 and 10 a half a tone, and you have a C9th chord on all the major chord strings. IE, 3, 4, 5 , 6, 8 and 10.

Another great use for it is splitting with the A pedal for an Augmented chord. IF you lower your 6th string a whole tone, you can use BOTH changes as a dom7 chord resolving to a major tonic chord on strings 5, 6 and 8.

Example:

1. Bar at 8th fret.

2. Engage LKV and RKL (lowers 6 a whole tone)

3. Now let off both knee levers as you bring in the E lever (lowering the E's). This took you from a D7 to a G chord. This has been a needed change on these strings, EVER since we've had the E lever IMO.

May Jesus bless you in your quests,

carl

[This message was edited by C Dixon on 09 July 2003 at 07:47 AM.]

long ago someone assigned the names:

1. Tonic

2. Subdominant

3. Dominant

For the three major chords in any major Key. Example:

Key of D

1. D is the tonic

2. G is the subdominant

and

3. A7 would be the dominant

hope this helps dear friend,

Many people instead get this by just half-pedalling the A pedal.

Here's a nice C major to an F minor substitution:

C at the 3rd fret (8,6 & 5 with A+B down)- for a full measure -
Slide up to the 6th (9, 6 & 5 with A pedal)
Stay there and engage the 'B' lower as well.
Then 9,6 & 5 with no pulls, then -
Same strings, but just lower the 5th, let it all ring and play the 6th string...

Maybe then resolve to an A minor at the 3rd fret.

And so on....

As usual Carl just lets these pearls of harmonic wisdom,
fall on us like a gentile rain of knowlege!

Merci, Carl you are doing so much for new players, I don't think you even realize how elucidating your posts are for so many of us.

Great tip!! Duh. It was there all along. I can really use this change to a a great 9th sound alot....

Plus I have been working out some blues voicings and found on 4,5, 6 with LKR - raising E to F(day setup) to get that real straight "D7" triad so commonly used in a blues "walk-down" to the tonic. EG: Key of G: 3 frets above the tonic with LKR or 4th string raised 1/2 tone, you can hit 4,5 6, go down a fret, hit 4,5 6 again, go down a fret, hit 4,5,6 again, release the knee lever and hit 4,6 6 at the third fret for the tonic.

Kinda cool. Comes in very handy on blues tunes needing that type of sound.

It is always nice to find a familiar voicing from 6 string guitar I can employ on PSG.

------------------
Bill Fulbright
Mullen D-10 8x7; Gibson ES-165; Peavey Vegas 400;
ICQ# 2251620 My Music Site

Wayne, if I am not mistaken, PF is lowering his B's AND 6th string G# a WHOLE tone with his 4th pedal. A lot of players are installing this new change. It is a great "lick" pedal. And when used properly, really embelishes back up to a singer. In some cases it gives a hauntingly beautiful sound when letting off the pedal slowly.

The knee lever lowering just the B's a half tone, is an entirely different thing.

Note: I made a mistake in my post concerning LKR (lowering the 6th sring a whole tone). It SHOULD have been RKL. I have corrected the post to reflect that.

Sorry bout that

I am humbled with the nice things said about my posts.

May Jesus bless you all always,

carl

And the dim you get w A+B split(B-Bb) and E's-Eb is a very useful voicing.

Going from A7 to D9 can be done at 8th fret strings 5 4 3 E's-F, release E's back to E and lower 5th string to Bb to get the D9.
W B-Bb engaged slide up to 9th fret and you have an A chord w b7 3rd #5 on strings 5 4 3, press Bpedal while still having B-Bb and you have an Achord w b7 3rd 13, release Bpedal and slide to 10 fret for an E9 on strings 5 4 3.

The B-Bb is a very fun change to explore.

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I've been using the B>Bb (my fourth pedal) in combination with my fifth pedal which lowers G#'s to GI've been using the B>Bb (my fourth pedal) in combination with my fifth pedal which lowers G#'s to G

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Can also be found on strings 5 2 1 or 6 5 4 or 9 8 6 or 10 8 7 assuming a standard 3+4 setup w 2&9 Eb-C#/D-C# and 1&7 F#-G

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But wouldn't I still need the G#>G pedal to get that minor chord two frets up?

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No. Stay in the same fret and use the B and C [pedals.

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Is there some other simple way to do the C-C#dim-Dm thing?

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C- 8th fret, strings 3,4,5 and 6 pedals up.
C#dim- pedals up, e-f knee lever engaged
Dm- B and C pedals

There's at least one small advantage to the way I've been doing it for my particular setup though. I'm playing an extended E9 and my low twelfth string E doesn't have any changes on it. So using the B>Bb and G#>G allows me to get the half step up diminished and include the low twelfth string in the chord.

Still, it's good to know the more usual ways of doing things, so thanks for the advice.

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FWIW, I avoid that E>F change as much as possible.

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