Mac os x unable to unmount volume for repair 69673. Sometimes it might seem that there are as many ways of tuning a pedal steel as there are pedal steel players. But if you strip the personal touches and enhancements from the guitars of the most players, you’ll find a common denominator of 3 pedals and 3 knee levers. In most instructional materials, the pedals are called A, B and C, and the knee levers are called D, E and F.1
Buy from Yamaha's UK store. Free mainland UK delivery. This is a handy, easy to read chart that shows the basic E9 pedal steel guitar chord forms. Each chord is shown in a special pedal steel diagram form. Pedal A, fret 1 strings 3,4,5,6, 8 & 10. Eb (D)lever, fret 6, same strings. Pedals BC, fret 8, strings 3,4,5,6. Fresh from the Mel Bay / Scotty Chord chart Extrapolate from these. You can get the chart from Scotty music too. This message was edited by David L. Donald on 17 April 2003 at 09:26 AM. Bob Farlow Member.
This standard copedent2 provides multiple inversions of all of the major and minor chords, all of the fundamental country and blues licks, and a healthy assortment of jazz chords. I’ve been playing for over 20 years, and I’m sure that there are a lot of positions and licks in the basic 3+3 setup that I still don’t know. Most steel players don’t strum chords, but they understand where the notes of the chord can be found on their instrument. The close intervals in the tuning make it necessary to skip strings to get the simple triad harmonies. For example, the open position includes all the notes of an E major chord on strings 3, 4, 5, 6, 8, and 10. Here are the basic pedal positions for chords on the open strings:
Of course, all of these positions can be moved up the neck to get the desired chord. In most cases, if you accidentally hit the wrong string you will get a 6th, 7th or 9th chord that extends the chord you were trying to play.
![Chart Chart](https://i.ytimg.com/vi/hW5wQaowdfY/maxresdefault.jpg)
A long time ago, steel players used pedals to simply change tunings. They would play a passage in an E tuning, for example, and then press the pedals to play the next passage in an A tuning. This technique is still useful in blues and old-timey music, where a more primitive sound is desired.
Modern pedal steel playing includes the use of pedals while the strings are sounding and the bar is in motion. For example, the modern player player may pick strings in the I (no pedals) position, then slide up three frets, activating the VI (pedal A + knee F) position during the slide for a smooth transition up to the next inversion of the triad.
![Pedal Steel E9 Chord Chart Pdf Pedal Steel E9 Chord Chart Pdf](https://thinkific-import.s3.amazonaws.com/117012/DvOkigdRJaAcnN8c8i84_FE9PSBLogo.png)
Another modern steel technique involves playing complete melodies using pedals instead of moving the bar. If you look carefully at the tuning chart, you can see that almost two full octaves of the E major and A major scales are available at the nut of the guitar. These scales are of course movable up the neck with the bar. The scale “licks” available using pedals at the I and IV positions are a large part of the modern country sound.
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Pedal Steel Guitar Chord Chart
I hope this little article has served to demystify the E9th tuning a bit. It’s intimidating at first – all those strings, all those pedals and levers – but the theory behind it is really fairly simple. Where a guitarist uses fingers to play notes on different frets, the steel player uses pedals to bring those notes to the barred fret.
As with any instrument, there’s the familiar routine: learn your scales, learn your chords, Practice! If you’re a good guitarist, chances are you could be a good steel player. It’s easier than it looks, and steel players are always in greater demand than lead guitarists. A word of caution, though – once you start making “that sound”, you may never look back. This may just be the world’s most pleasurable addiction…
Copyright ©1996 by Bobby Lee
Apr 08, 2017 SolveigMM Video Splitter 6 serial key can split your video into small parts in few clicks. SolveigMM Video Splitter 6 license key supports MKV, AVI, ASF, MP4, WMA and much more. Throughout the operation you can simply access cut, merge videotrimming. SolveigMM AVI Trimmer can be used to remove ads and other unwanted portions from your video. Solveigmm avi trimmer mkv serial key. SolveigMM AVI Trimmer MKV crack, key. Found 10 key generators for 'Trimmer'. Solveig Multimedia AVI Trimmer + MKV 2.1.1307.29 + Portable. SolveigMM WMP Trimmer Plugin 3.0.1308.05. Solveigmm Avi Trimmer Mkv Serial Key. The program is a free software that will enable you to cut or rip apart video formats existing in AVI formats. SolveigMM AVI Trimmer + MKV is reliable because it. And even then the result was not so great. So, I showed him how to do the job losslessly in less than a minute using a good standalone trimmer.
1Some older instructors reverse the names of the “D” and “E” levers, following a convention started by Jeff Newman.
2Copedent is the word steel guitarists use to describe the combination of string tuning and pedal arrangement.
E9 Chord Chart
-Bobby Lee
Pedal Steel E9 Chord Chart Pdf Free
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
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