I think of it the same way I think of the e-e flat change on the C6th neck

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D 10 Thomas with 8&6, '61'D-10 Sho-Bud 8&3
S12 Knight 6&4
Nashville 400 and Profex II
81' Fender Twin JBL's
Asleep at the Steel

The uses listed above are certainly effective ways to use the G# to G. One additional function you can use is the tunable split which is probably on your Fessy. It allows you to lower the 6th to F# (another common and valuable change) and then raise it back to G with the B pedal. You can tune the A (B pedal), G# (open string), G (split), and F# (full tone lower). THAT'S A LOT OF BANG FOR THE BUCK. You may want to consider this.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps

This gives you the option of using the 1st pedal alone for the minor chord as already mentioned but when you use it with pedal A it gives you a 7th chord.

Example: 3rd fret with pedals AB is a C chord with strings 345...456...568

I think the vertical should have the F# to G raise, so that when used in cojunction with the A and B pedals, you get a 7th chord.

I find that it's easier to use the lever if I have the A and B pedals pressed, because the pedals give me some leverage to use to hit the vertical. I find it much harder to activate the vertical if I'm not also working the pedals.

(Edited for spelling and typos)

[This message was edited by Mike Perlowin on 24 September 2005 at 06:12 PM.]

[This message was edited by Gene Jones on 24 September 2005 at 10:52 AM.]

quote:

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. . . it's easier to use the lever if I have the A and B pedals pressed, because the pedals give me some leverage to use to hit the vertical.

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Indeed. Using this lever without mashing A and B is a trick I haven't figured out yet and wonder if I ever will.

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Drew Howard - website - Fessenden D-10 8/8, Fessenden SD-12 5/5 (Ext E9), Magnatone S-8, N400's, BOSS RV-3

then up one fret for the IV maj

then 2 frets for V maj,

then two more for VI min

and two more for VII minor.

and one more fret and you're back at the top on your root chord.

This can give you the basic chord base for a full cycle of chords in any key.

I can't do without a minor lower in open, or AB down positions.

Of course the D# to D lever (maj7 to b7)
and flatting the fifth also come into play.

If you are familiar with the sliding 6th intervals on strings 8 and 5 using the A pedal and the the E-D# on string 8, you get the same thing up a 5th by using the B-A# and the F#-G#.

quote:

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Jay, Two frets back from the open E9th chord is a 7th.

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OK Pete. Just how do you slide 2 frets back from the open E9 chord?

Lee, whatever the open E9th chord is, 2 frets back with B>Bb will be the 7th.
If the open E9th chord is E, open or at fret 12 (or E at the 7th fret with A+B), then fret 10 with B>Bb is E7.

It's kinda amazing how many chord inversions can be found either 2 frets back, or 3 frets up (with this or that pedal/lever combo), on both 9th and 6th tunings.

[This message was edited by Pete Burak on 30 September 2005 at 04:44 PM.]