The British Steelies Society

you could actually try going from C to a 2 beat bar of Eb sus4, then a two beat bar of Eb, perhaps only steel playing that, while the band stops? then into your G# or as i always call it Ab

Try this Billy,

C (8th Fret)
A#m (9th Fret -B's to C# pedal)
D# (11th Fret)
G# (11th Fret - A&B pedals (Emmons))

This progression (II minor, V and Root, of the new key) is used quite a bit for awkward key changes in music in general.

Best of Luck
Tony

Play the last chord C (will make me BLUE), then one strum on Eb, one strum on Bb, one strum on C#, and then start the verse to the second song on G#

hey Billy, good thread, got us thinking, and also considering alternatives, which work, i personally still prefer my simplistic approach,with a stop apart from steel, we dont want to confuse our singers now, do we? i think billy, you should offer a substantial cash prize to which ever one you adopt, plus a genorous runners up prize, keep em coming guys,

The last note sung in the final bar of "your cheatin heart" is C and the first note in "Take these chains" is also C (although it may be an octave higher).
If the singer can hold that note in her head You may only need a bar of Eb 7/6 or as I call it "Eb7 with a C on top" as an intro to the new song.

your quite right Ian, that would certainly work, BUT! i would not trust that many singers to pull that off, remember they are not musicians in the main, hard enough to get them to sing in time, never mind pitch a key change from C to Ab, its not the band im worried about, can you tell I HATE SINGERS? i have no doubt Billy will pull off whichever of the above he chooses,

Hi Steddie, I know what you mean about most singers. They are a race apart. (That's not racist is it?)
By the way, I still haven't got the hang of this internet thingy. My reply should have been aimed at Zumbilly.