Uploaded December 2012 | Updated September 2026, 2 days ago
A slightly different version of the gospel song, "When He Was On The Cross" with an old timey effect applied.
I'm using a Nashville 112 amplifier and a Rittenberry guitar with 3 pedals and 5 knee levers. I had a 4th floor pedal, but took it off because it was getting in the way of pedal 3. I lower my 6th string a whole tone with a vertical knee. I also have a half-stop on string 6 that gives me a G note when the B pedal and vertical knee are activated together. I use this feature quite a bit in this song. I don't raise string 7.
I usually do a bar slant across strings 4 and 5, using only the A pedal down. The rear of the bar slants across string 6 a fret lower. Jerry Byrd explains the proper technique for bar slants in his "Big Book" of Hawaiian music available only from Scotty's Music in St. Louis. I could never understand how Lloyd Green achieved a G note on string 6 with a bar slant. It's because I DIDN'T know that you need to place the tip of the bar directly BETWEEN strings 4 and 5 (and not across string 5 only as I was wrongly doing). So for example: You'd place the tip of the bar between strings 4 and 5 on fret 10 with the A pedal pressed down. The rear of the bar is slanted down across string 6 on fret 9. That's how you use a bar slant to properly achieve a G note on string 6. It sounds very unique and is a great technique to learn and use. Albeit, for some applications, such as this song, I chose to use the split-tuning. Each technique and change has a different variation and flavor of sound.
A slightly different version of the gospel song, "When He Was On The Cross" with an old timey effect applied.
I'm using a Nashville 112 amplifier and a Rittenberry guitar with 3 pedals and 5 knee levers. I had a 4th floor pedal, but took it off because it was getting in the way of pedal 3. I lower my 6th string a whole tone with a vertical knee. I also have a half-stop on string 6 that gives me a G note when the B pedal and vertical knee are activated together. I use this feature quite a bit in this song. I don't raise string 7.
I usually do a bar slant across strings 4 and 5, using only the A pedal down. The rear of the bar slants across string 6 a fret lower. Jerry Byrd explains the proper technique for bar slants in his "Big Book" of Hawaiian music available only from Scotty's Music in St. Louis. I could never understand how Lloyd Green achieved a G note on string 6 with a bar slant. It's because I DIDN'T know that you need to place the tip of the bar directly BETWEEN strings 4 and 5 (and not across string 5 only as I was wrongly doing). So for example: You'd place the tip of the bar between strings 4 and 5 on fret 10 with the A pedal pressed down. The rear of the bar is slanted down across string 6 on fret 9. That's how you use a bar slant to properly achieve a G note on string 6. It sounds very unique and is a great technique to learn and use. Albeit, for some applications, such as this song, I chose to use the split-tuning. Each technique and change has a different variation and flavor of sound.
