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
Pedal Steel E9 Chord Chart Pdf Chart
The E9th is the most common of all pedal steel copedents. It is the sound that the general public associates with the instrument. It is used in all kinds of music, but it excels in country. E9th is the stock configuration of all single neck 10 string (S-10) pedal steels, and it is the front neck of double neck (D-10) instruments. https://hut-download.mystrikingly.com/blog/toast-titanium-17-4-rifle. Learn How to Emulate the Pedal Steel on Guitar. As an All Access Student, you can stream this course on any device. However, if you'd like to download this course for offline access and own it forever, you can purchase this course now. Feb 22, 2017 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. Translate tab 2 0 1. This is Volume #6 of my 10 String E9 Pedal Steel Basics. In this lesson I made a custom chord diagram that shows how to play Major, Minor, and Dominant 7th Chords in ALL KEYS. It's similar to Vol. #3 however, in this lesson covers chords in All Keys. Gemini 2 5 0 5. This Download Comes With: High Resolution PDF File of the Chord Diagram - for printing.
