50+ videos Play all Mix - E9 Pedal Steel Basics - #8 - C6 Sounds for E9 - 6th, 7th, & 9th Chord For Swing & Blues YouTube PEDAL STEEL BASICS - Vol. #3 - Major, Minor, & Dom. 7th Chords - Duration. Feb 07, 2006 The Steel Guitar Forum Pedal Steel E9 chord chart your profile join preferences help search: next newest topic next oldest topic: Author: Topic: E9 chord chart: Jim Ives Member. From: Los Angeles, California, USA: posted 07 February 2006 09:01 AM profile. Jan 20, 2019 And 'Zone 2' would span from the 8th to the 10th fret.5. Chord Practice – E9 pedal steel & C6 lap steel guitar. This is a basic chord exercise that I give to my students. There is a chord chart and an Audio track to play along with. I decided I needed some scale charts to improve my knowledge of the E9. Jan 13, 2017 An E9 chord consists of. E9 Steel Guitar Chord Chart. LAP STEEL CHORDS CHART PDF. John Ely's chord locator for lap steel guitar, which finds positions for a host of chord. The Generic Chord Locator is a tool that allows you to locate chords. Steel Guitar Tab Page 11 (E9th 3RD Pedal). While this pedal is handy for playing minor chords.
PEDAL STEEL GUITAR E9 FRETBOARD REFERENCE Arranged By: Jesse Leite DRAFT #5 Please send all comments and suggestions to [email protected]
A
B
C
LKL
LKR
F#
TABLE OF CONTENTS
D# G#
A
E B
F# C#
G#
F
D#
C# A
F# E
F
p.2
The Chord Chart
p.3
Chord Zones
p.4
Single Position Scale Patterns
p.5
Harmonized Scale Patterns
D# B
D#
Introduction
C#
Appendix A: Diatonic Chord Reference
p.6-10 p.11
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
INTRODUCTION WHAT IS THE PURPOSE OF THIS REFERENCE BOOKLET? The purpose of this booklet is to lay out the E9 fretboard in a simple and practical way. My goal is to cover everything from basic chord positions for rhythm playing, to various scale patterns for lead playing, and to tie these rhythm and lead concepts together to form a better understanding of the E9 fretboard. To attain this goal, I have created a simple chord chart that will be utilized as a reference on every page; and in doing this hopefully the player will begin to see how these chords and scales fit together on the fretboard in any given key. WHAT DO I NEED TO GET STARTED? Before using this reference booklet, it is highly recommended that you have a basic understanding of chord theory and diatonic harmony; specifically the nashville numbering system, which will be used to notate diatonic chord names. WHAT IS DIATONIC HARMONY? Chord progressions in most songs are not usually chosen at random, but are chosen because they sound good together in a given key. The rules of 'diatonic harmony' allow a musician to easily find a set of chords that properly harmonize with the scale of the key they are playing in. WHAT IS THE NASHVILLE NUMBERING SYSTEM? It is considered a standard to use roman numerals (rather than specific chord names) to maximize flexibility when learning chord progressions. The roman numerals define the character of a chord, and allow a musician to easily transpose chord progressions (and patterns, scales, licks within a given chord progression) up the neck for use in any key. Many call this the 'nashville numbering system'. While the charts in the book primarily use the nashville numbering system, you may refer to Appendix A for exact chord names in any given key. WANT TO LEARN MORE? You can use the internet to research these concepts further. Searching the terms 'diatonic harmony', 'nashville numbering system', and 'harmonizing the major scale' should all lead you to a wealth of useful information. Also available to you are many great pedal steel guitar method books, and/or general music theory method books to help get you started. HOW IS THIS CHORD CHART FORMATTED? 1) Each chart covers a little more than one octave (a total of 17 frets by column, with 'home' frets outlined in bold). 2) The primary major chords (I, IV, V; aka. 'tonic', 'subdominant', and 'dominant' respectively) exist within the green rows. 3) The secondary chords (IIm, IIIm, VIm, VII˚) exist within the blue rows. 4) Pedal & lever changes are based on the E9 pedal steel tuning using a fairly standard Emmons style copedent (see title page for copedent). 2
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
THE CHORD CHART
IIm (LKR)
I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm (B+C) *3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
*Chords can be played on strings 3, 4, 5, 6, 8, and 10; unless otherwise noted!
HERE IS THE BASIC CHORD CHART! One octave has been highlighted with many of the common diatonic chord positions labelled. With these chord voicings, the player is never more than a few frets away from the next desired chord. This is the basic chart on which the rest of this reference booklet is based on. Feel free to add your own chord voicings to this chart; especially if you have custom changes installed that may allow for other possible chord voicings! In the key of G Major, the home frets outlined in bold would occur at the 3rd and 15th frets. Refer to Appendix A for exact chord names in any given key. 3
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
CHORD ZONES
IIm (LKR)
I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm (B+C) *3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
*3,4,5,6,7
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
CHORD ZONE 1
CHORD ZONE 2
CHORD ZONE 1; octave higher
*Chords can be played on strings 3, 4, 5, 6, 8, and 10; unless otherwise noted!
HOW ARE THESE CHORD ZONES USEFUL? The chart on the previous page is very open, and allows the player to veer in any direction to create chord progressions. This may be overwhelming for some. By breaking the neck into two 'zones', the player might find it easier to memorize these chord positions. It is also beneficial to use these chord zones because the range of frets within each zone is small enough for you to play through a song with minimal bar movement. In the key of G Major, 'Zone 1' would span from the 1st to the 5th fret, and 'Zone 2' would span from the 8th to the 10th fret. 4
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
SINGLE POSITION SCALE PATTERNS
IIm (LKR)
I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm (B+C) *3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Scale Pattern in Zone 1: (G Major) 3 3 3---3B 3 3---3A 3---3B 3 3 *Major Roots *Relative Minor Roots
Harmonizing Zone 1: 3 3 3B---3 3-----3 3-----3 3A---3
Scale Pattern in Zone 2: 10 9* 10---10B 10 10---10A 10---10B 10 10
*NOTE: Many guitars have a change installed which lowers string 2. If available, starred note can be played at fret 10!
Harmonizing Zone 2: 10 10* 10B---3 10-----3 10-----10 10A---10 *NOTE: 2nd String change required in this example!
Here are a few scale patterns that fit nicely into the two zones. In the key of G Major, these scales would occur at the 3rd and 10th frets, and would repeat an octave higher at the 15th fret. There are many ways to harmonize these single position scales. Examples have been provided to get you started. 5
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using LKL Change I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
F# D# G# E B G# F# E D B
Harmonized Scale Using LKL Change: (G Major) *Major Roots *Relative Minor Roots 3 3
4 4 LKL
6 6 LKL
8 8
10 10
11 11 LKL
13 13 LKL
15 15
3
4
6
8
10
11
13
15
3
4 LKL
6 LKL
8
10
11 LKL
13 LKL
15
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 3+4, 4+6, or 6+8. The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody. The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 6
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using A+B Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
F# D# G# E B G# F# E D B
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using A+B Changes: (G Major) *Major Roots *Relative Minor Roots
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 3+5, 5+6, or 6+10.
3
3B
5B
8
10
10 B
13
15
3 3
3A 3B
5A 5B
8 8
10 10
10 A 10 B
13 13
15 15
The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody.
15
The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed).
3
3A
5A
8
10
10 A
13
7
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using A+LKL Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using A+LKL Changes: (G Major) *Major Roots *Relative Minor Roots
3 3A
5 5A
6 LKL 6A
8 8A
10 10 A
11 LKL 11 A
13 LKL 13 A
15 15 A
3
5
6 LKL
8
10
11 LKL
13 LKL
15
3A
5A
6A
8A
10 A
11 A
13 A
15 A
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 4+5, 5+8, or 8+10. The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody. The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 8
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using A+LKR Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using A+LKR Changes: (G Major) *Major Roots *Relative Minor Roots
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 4+5, 5+8, or 8+10.
3 LKR 3
3 3A
5 5A
8 LKR 8
8 8A
10 10 A
13 LKR 13
15 LKR 15
The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody.
3 LKR
3
5
8 LKR
8
10
13 LKR
15 LKR
3
3A
5A
8
8A
10 A
13
15
The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 9
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using B+C Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
*3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using B+C Changes: (G Major) *Major Roots *Relative Minor Roots 3 3
3B 3C
5B 5C
8 8
10 10
10 B 10 C
12 B 12 C
15 15
3
3B
5B
8
10
10 B
12 B
15
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 3+4, or 4+6. The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody. The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 10
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
Appendix A: Diatonic Chord Reference
The Diatonic Chords (Chords That Harmonize Nicely In Each Key)
The 12 Major Keys (And Their Respective 'Home Frets') F Major
F# / Gb Major
G Major
G# / Ab Major
A Major
A# / Bb Major
B Major
C Major
C# / Db Major
D Major
D# / Eb Major
E Major
Fret 1 Fret 13
Fret 2 Fret 14
Fret 3 Fret 15
Fret 4 Fret 16
Fret 5 Fret 17
Fret 6 Fret 18
Fret 7 Fret 19
Fret 8 Fret 20
Fret 9 Fret 21
Fret 10 Fret 22
Fret 11 Fret 23
Open Fret 12 Fret 24
I
F
F# / Gb
G
G# / Ab
A
A# / Bb
B
C
C# / Db
D
D# / Eb
E
IIm
Gm
G#m / Abm
Am
A#m / Bbm
Bm
Cm
C#m / Dbm
Dm
D#m / Ebm
Em
Fm
F#m / Gbm
IIIm
Am
A#m / Bbm
Bm
Cm
C#m / Dbm
Dm
D#m / Ebm
Em
Fm
F#m / Gbm
Gm
G#m / Abm
IV
A# / Bb
B
C
C# / Db
D
D# / Eb
E
F
F# / Gb
G
G# / Ab
A
V7
C
C# / Db
D
D# / Eb
E
F
F# / Gb
G
G# / Ab
A
A# / Bb
B
VIm
Dm
D#m / Ebm
Em
Fm
F#m / Gbm
Gm
G#m / Abm
Am
A#m / Bbm
Bm
Cm
C#m / Dbm
VII˚
E˚
F˚
F#˚ / Gb˚
G˚
G#˚ / Ab˚
A˚
A#˚ / Bb˚
B˚
C˚
C#˚ / Db˚
D#˚
D#˚ / Eb˚
Here is a supplementary reference chart that you may use to quickly names of the diatonic chords (the chords that harmonize nicely) in any given key. This can be used in conjunction with any of the chord charts used previously in this booklet. 11
posted 17 April 2003 10:26 AM profileWhen you say E minor, I am assuming you mean that the 6th (and possibly the 3rd) string is being lowered to a G note.A
B
C
LKL
LKR
F#
TABLE OF CONTENTS
D# G#
A
E B
F# C#
G#
F
D#
C# A
F# E
F
p.2
The Chord Chart
p.3
Chord Zones
p.4
Single Position Scale Patterns
p.5
Harmonized Scale Patterns
D# B
D#
Introduction
C#
Appendix A: Diatonic Chord Reference
p.6-10 p.11
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
INTRODUCTION WHAT IS THE PURPOSE OF THIS REFERENCE BOOKLET? The purpose of this booklet is to lay out the E9 fretboard in a simple and practical way. My goal is to cover everything from basic chord positions for rhythm playing, to various scale patterns for lead playing, and to tie these rhythm and lead concepts together to form a better understanding of the E9 fretboard. To attain this goal, I have created a simple chord chart that will be utilized as a reference on every page; and in doing this hopefully the player will begin to see how these chords and scales fit together on the fretboard in any given key. WHAT DO I NEED TO GET STARTED? Before using this reference booklet, it is highly recommended that you have a basic understanding of chord theory and diatonic harmony; specifically the nashville numbering system, which will be used to notate diatonic chord names. WHAT IS DIATONIC HARMONY? Chord progressions in most songs are not usually chosen at random, but are chosen because they sound good together in a given key. The rules of 'diatonic harmony' allow a musician to easily find a set of chords that properly harmonize with the scale of the key they are playing in. WHAT IS THE NASHVILLE NUMBERING SYSTEM? It is considered a standard to use roman numerals (rather than specific chord names) to maximize flexibility when learning chord progressions. The roman numerals define the character of a chord, and allow a musician to easily transpose chord progressions (and patterns, scales, licks within a given chord progression) up the neck for use in any key. Many call this the 'nashville numbering system'. While the charts in the book primarily use the nashville numbering system, you may refer to Appendix A for exact chord names in any given key. WANT TO LEARN MORE? You can use the internet to research these concepts further. Searching the terms 'diatonic harmony', 'nashville numbering system', and 'harmonizing the major scale' should all lead you to a wealth of useful information. Also available to you are many great pedal steel guitar method books, and/or general music theory method books to help get you started. HOW IS THIS CHORD CHART FORMATTED? 1) Each chart covers a little more than one octave (a total of 17 frets by column, with 'home' frets outlined in bold). 2) The primary major chords (I, IV, V; aka. 'tonic', 'subdominant', and 'dominant' respectively) exist within the green rows. 3) The secondary chords (IIm, IIIm, VIm, VII˚) exist within the blue rows. 4) Pedal & lever changes are based on the E9 pedal steel tuning using a fairly standard Emmons style copedent (see title page for copedent). 2
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
THE CHORD CHART
IIm (LKR)
I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm (B+C) *3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
*Chords can be played on strings 3, 4, 5, 6, 8, and 10; unless otherwise noted!
HERE IS THE BASIC CHORD CHART! One octave has been highlighted with many of the common diatonic chord positions labelled. With these chord voicings, the player is never more than a few frets away from the next desired chord. This is the basic chart on which the rest of this reference booklet is based on. Feel free to add your own chord voicings to this chart; especially if you have custom changes installed that may allow for other possible chord voicings! In the key of G Major, the home frets outlined in bold would occur at the 3rd and 15th frets. Refer to Appendix A for exact chord names in any given key. 3
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
CHORD ZONES
IIm (LKR)
I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm (B+C) *3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
*3,4,5,6,7
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
CHORD ZONE 1
CHORD ZONE 2
CHORD ZONE 1; octave higher
*Chords can be played on strings 3, 4, 5, 6, 8, and 10; unless otherwise noted!
HOW ARE THESE CHORD ZONES USEFUL? The chart on the previous page is very open, and allows the player to veer in any direction to create chord progressions. This may be overwhelming for some. By breaking the neck into two 'zones', the player might find it easier to memorize these chord positions. It is also beneficial to use these chord zones because the range of frets within each zone is small enough for you to play through a song with minimal bar movement. In the key of G Major, 'Zone 1' would span from the 1st to the 5th fret, and 'Zone 2' would span from the 8th to the 10th fret. 4
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
SINGLE POSITION SCALE PATTERNS
IIm (LKR)
I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm (B+C) *3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Scale Pattern in Zone 1: (G Major) 3 3 3---3B 3 3---3A 3---3B 3 3 *Major Roots *Relative Minor Roots
Harmonizing Zone 1: 3 3 3B---3 3-----3 3-----3 3A---3
Scale Pattern in Zone 2: 10 9* 10---10B 10 10---10A 10---10B 10 10
*NOTE: Many guitars have a change installed which lowers string 2. If available, starred note can be played at fret 10!
Harmonizing Zone 2: 10 10* 10B---3 10-----3 10-----10 10A---10 *NOTE: 2nd String change required in this example!
Here are a few scale patterns that fit nicely into the two zones. In the key of G Major, these scales would occur at the 3rd and 10th frets, and would repeat an octave higher at the 15th fret. There are many ways to harmonize these single position scales. Examples have been provided to get you started. 5
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using LKL Change I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
F# D# G# E B G# F# E D B
Harmonized Scale Using LKL Change: (G Major) *Major Roots *Relative Minor Roots 3 3
4 4 LKL
6 6 LKL
8 8
10 10
11 11 LKL
13 13 LKL
15 15
3
4
6
8
10
11
13
15
3
4 LKL
6 LKL
8
10
11 LKL
13 LKL
15
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 3+4, 4+6, or 6+8. The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody. The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 6
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using A+B Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
F# D# G# E B G# F# E D B
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using A+B Changes: (G Major) *Major Roots *Relative Minor Roots
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 3+5, 5+6, or 6+10.
3
3B
5B
8
10
10 B
13
15
3 3
3A 3B
5A 5B
8 8
10 10
10 A 10 B
13 13
15 15
The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody.
15
The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed).
3
3A
5A
8
10
10 A
13
7
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using A+LKL Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using A+LKL Changes: (G Major) *Major Roots *Relative Minor Roots
3 3A
5 5A
6 LKL 6A
8 8A
10 10 A
11 LKL 11 A
13 LKL 13 A
15 15 A
3
5
6 LKL
8
10
11 LKL
13 LKL
15
3A
5A
6A
8A
10 A
11 A
13 A
15 A
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 4+5, 5+8, or 8+10. The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody. The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 8
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using A+LKR Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using A+LKR Changes: (G Major) *Major Roots *Relative Minor Roots
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 4+5, 5+8, or 8+10.
3 LKR 3
3 3A
5 5A
8 LKR 8
8 8A
10 10 A
13 LKR 13
15 LKR 15
The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody.
3 LKR
3
5
8 LKR
8
10
13 LKR
15 LKR
3
3A
5A
8
8A
10 A
13
15
The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 9
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using B+C Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
*3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using B+C Changes: (G Major) *Major Roots *Relative Minor Roots 3 3
3B 3C
5B 5C
8 8
10 10
10 B 10 C
12 B 12 C
15 15
3
3B
5B
8
10
10 B
12 B
15
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 3+4, or 4+6. The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody. The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 10
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
Appendix A: Diatonic Chord Reference
The Diatonic Chords (Chords That Harmonize Nicely In Each Key)
The 12 Major Keys (And Their Respective 'Home Frets') F Major
F# / Gb Major
G Major
G# / Ab Major
A Major
A# / Bb Major
B Major
C Major
C# / Db Major
D Major
D# / Eb Major
E Major
Fret 1 Fret 13
Fret 2 Fret 14
Fret 3 Fret 15
Fret 4 Fret 16
Fret 5 Fret 17
Fret 6 Fret 18
Fret 7 Fret 19
Fret 8 Fret 20
Fret 9 Fret 21
Fret 10 Fret 22
Fret 11 Fret 23
Open Fret 12 Fret 24
I
F
F# / Gb
G
G# / Ab
A
A# / Bb
B
C
C# / Db
D
D# / Eb
E
IIm
Gm
G#m / Abm
Am
A#m / Bbm
Bm
Cm
C#m / Dbm
Dm
D#m / Ebm
Em
Fm
F#m / Gbm
IIIm
Am
A#m / Bbm
Bm
Cm
C#m / Dbm
Dm
D#m / Ebm
Em
Fm
F#m / Gbm
Gm
G#m / Abm
IV
A# / Bb
B
C
C# / Db
D
D# / Eb
E
F
F# / Gb
G
G# / Ab
A
V7
C
C# / Db
D
D# / Eb
E
F
F# / Gb
G
G# / Ab
A
A# / Bb
B
VIm
Dm
D#m / Ebm
Em
Fm
F#m / Gbm
Gm
G#m / Abm
Am
A#m / Bbm
Bm
Cm
C#m / Dbm
VII˚
E˚
F˚
F#˚ / Gb˚
G˚
G#˚ / Ab˚
A˚
A#˚ / Bb˚
B˚
C˚
C#˚ / Db˚
D#˚
D#˚ / Eb˚
Here is a supplementary reference chart that you may use to quickly names of the diatonic chords (the chords that harmonize nicely) in any given key. This can be used in conjunction with any of the chord charts used previously in this booklet. 11
_Tuning_-_1.png/220px-Chord_Shapes_for_Perfect_Fourths_(P4)_Tuning_-_1.png "Pedal steel e9 chord chart pdf printable full")
Based on this assumption, I would offer the following suggestions:
Based on this assumption, I would offer the following suggestions:
You would have any given fret's minor chord (instead of that fret's major chord) as you probably already know.
Now how to use them? Ok, Two frets up from any fret you have the relative minor chord to the 4 chord. IE, at fret 10 you would have Dmin which is relative to the F chord, which is the 4 chord in the key of C.
Magix music maker 14 activation keygen for mac. If you move two more frets up to fret 12, you would have the relative minor (Eminor) to the V chord (G). All file to all file converter 3000 7.3 keygen.
Now if you want the relative minor to the I (C) chord, you would find this at fret 5. Or 3 frets down from the I chord. Fuji autosave for mac.
To summarize:
1. Three frets down from the I chord is the I chord relative minor.
2. Two frets up from the I chord is the 4 chord relative minor.
3. 4 frets up from the I chord is the 5 chord relative minor.
If you did not already know it, there are 3 relative minor chords to any major Key. IE, key of C you have:
1. C = Amin
2. F = Dmin
3. G = Emin
The great thing about this minor chord inversion is it completes the final inversion of any major or minor chord on any 3 consecutive strings (3, 4, 5, 6, 8 and 10).
Ever since LG gave us the F lever, we have had the three inversions of a major chord. And we had two of the minor inversions. But we never had the 3rd inversion ,UNLESS one used the B and C pedals. Which of course required one to change their foot position.
With the 'subject' minor inversion, we now can obtain any major or any minor inversion using just the A and/or B pedals and various combinations of the E and F knee levers if needs be.
I personally use it all the time. I would not want to play a PSG without lowering at least the 6th string to a G (I do it by splitting). In the future I will be lowering string 3 to a G as well, which will then totally complete what I feel music calls for with respect to major and minor chords.
Hope this helps, and may Jesus bless you in your quests,
carl
Pedal Steel E9 Chord Chart
[This message was edited by C Dixon on 17 April 2003 at 10:29 AM.]
