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. 'The Paul Franklin Method is the most comprehensive study in and of pedal steel that has ever been available. It is literally an online university. To be able to study Paul’s mastery in such a frank and detailed way is amazing. This is the standard-bearer for pedal steel instruction books. It is extremely comprehensive in scope. Written by DeWitt Scott, founder of the International Pedal Steel Guitar Convention and member of the Pedal Steel Guitar Hall of Fame, this course teaches E9 tuning, Nashville set-up pedal steel with three floor and three knee levers.
- Pedal Steel E9 Chord Chart Pdf Chart
- Pedal Steel E9 Chord Chart Pdf Key Of C
- Pedal Steel E9 Chord Chart Pdf Download
Copedent Explained
The copedent is the steel guitarist's way of saying 'this is how I tune my instrument.' It's a diagram showing where the pedals and levers are and what action they take on the strings.
The reason the copedent exists for steel guitar and not other instruments is that, unlike other instruments, there is no standard tuning for the steel guitar. In fact I've read somewhere that there are as many tunings for the steel guitar as there are steel guitarists.
This is both a good and bad thing. The bad news is that learning can be difficult and communicating ideas is confusing. Though I will try to make the lessons herein easy to use regardless of your particular tuning.
The good news is that this versatility means you can develop your own tuning and style, and experiment with things that may have never been tried. I think of the PSG as a sort of 'design-your-own' instrument. It feels very rewarding knowing that you created your own tuning setup. Some players keep their copedent as secret as a chef might hide their recipe.
Here's the standard diagram of a copedent:
My Copedent
In developing the instructional material for steelguitaracademy.com, I analyzed setups of several pros and amateurs. The open tuning is somewhat uniform among most players (the variation usually occurs in the pedal and lever tunings). There are some who alter the basic open tuning slightly - usually on the 2nd and 9th strings. There is also a handful that changes it beyond recognition of an E9 chord. For this website we will assume the most popular tuning as written below.
![Tuning Tuning](https://bb.steelguitarforum.com/userpix0912/6846_E9chordChart_1.jpg)
I tried to incorporate the most common pedal and lever tunings and locations in my copedent. The less common pedals (I call them LV, RL, and X) were used because they added the most chord voicings and scale positions to the basic tuning assignment.
Don't worry if you don't have all these pedals and levers on your instrument. In every part of this website, I explain how to play the exercises without the pedals.
This is the copedent I use for this website:
Names of Pedals and Levers:
A - Raises strings 5 and 10 two semitones
B - Raises strings 3 and 6 one semitone
C - Raises strings 4 and 5 two semitones
X - Lowers strings 3 and 6 one semitone
LL- Raises strings 4 and 8 one semitone
LV - Lowers strings 5 and 10 one semitone
LR - Lowers strings 4 and 8 one semitone
RL - Raises strings 1 and 7 one semitone
RR - Lowers strings 2 two semitones and string 9 one semitone
A - Raises strings 5 and 10 two semitones
B - Raises strings 3 and 6 one semitone
C - Raises strings 4 and 5 two semitones
X - Lowers strings 3 and 6 one semitone
LL- Raises strings 4 and 8 one semitone
LV - Lowers strings 5 and 10 one semitone
LR - Lowers strings 4 and 8 one semitone
RL - Raises strings 1 and 7 one semitone
RR - Lowers strings 2 two semitones and string 9 one semitone
Combinations and Half-stop Feels:
R - The RR lever pushed halfway lowers only string 2 a semitone; string 9 remains unchanged.
ALV - A and LV engaged together raises strings 5 and 10 one semitone. It can also be accomplished by pushing the A pedal halfway down.
CLV - C and LV engaged together raises string 4 a full tone and string 5 a semitone.
R - The RR lever pushed halfway lowers only string 2 a semitone; string 9 remains unchanged.
ALV - A and LV engaged together raises strings 5 and 10 one semitone. It can also be accomplished by pushing the A pedal halfway down.
CLV - C and LV engaged together raises string 4 a full tone and string 5 a semitone.
This tuning arrangement makes the E9 tuning chromatic. At every bar position, every semitone is playable between the lowest and highest pitch notes. This gives the E9 tuning great flexibility. It also makes it difficult to grasp its complex harmonic variety. Simplifying the complexity of the instrument was a primary concern in developing this website.
Pedal and Lever Locations
This is where I have placed the pedals and levers on my instrument:
(The unused pedals at the right are for the C6 neck.)
Pedal Steel E9 Chord Chart Pdf Chart
This picture shows where I have assigned the pedals and levers, though this website can be used even if players assign some of their levers elsewhere on their instrument, by utilizing the 'bar copedent' (see below).
Bar Copedent
There is another way to think of the tuning arrangement of a steel guitarist. I developed a 'bar position copedent' in order to see what the pedals do in reference to the bar position. This way, I can imagine how many frets to the right or left I would need to move the bar to get the same note as a pedal or lever.
Here are the names of the Pedals and Levers again:
A - Raises strings 5 and 10 two semitones
B - Raises strings 3 and 6 one semitone
C - Raises strings 4 and 5 two semitones
X - Lowers strings 3 and 6 one semitone
LL- Raises strings 4 and 8 one semitone
LV - Lowers strings 5 and 10 one semitone
LR - Lowers strings 4 and 8 one semitone
RL - Raises strings 1 and 7 one semitone
RR - Lowers strings 2 two semitones and string 9 one semitone
B - Raises strings 3 and 6 one semitone
C - Raises strings 4 and 5 two semitones
X - Lowers strings 3 and 6 one semitone
LL- Raises strings 4 and 8 one semitone
LV - Lowers strings 5 and 10 one semitone
LR - Lowers strings 4 and 8 one semitone
RL - Raises strings 1 and 7 one semitone
RR - Lowers strings 2 two semitones and string 9 one semitone
Combinations and Half-stop Feels:
R - The RR lever pushed halfway lowers only string 2 a semitone; string 9 remains unchanged.
ALV - A and LV engaged together raises strings 5 and 10 one semitone. It can also be accomplished by pushing the A pedal halfway down.
CLV - C and LV engaged together raises string 4 a full tone and string 5 a semitone.
R - The RR lever pushed halfway lowers only string 2 a semitone; string 9 remains unchanged.
ALV - A and LV engaged together raises strings 5 and 10 one semitone. It can also be accomplished by pushing the A pedal halfway down.
CLV - C and LV engaged together raises string 4 a full tone and string 5 a semitone.
As you can see, the bar copedent tells you exactly what each pedal does relative to the bar position. This creates a mental map of the notes you can acquire as you move the bar along the fret board. Borderlands free mac.
To explain more fully:
The bar position is the center column of the diagram shaded gray. The string numbers are noted in the gray column. Pedal names that raise that string are written to the right (+1/2 raises one semitone; +1 raises one full tone). Pedal names that lower that string are written to the left (-1/2 lowers one semitone; -1 lowers one full tone).
If you are a beginner, you can use this chart to quickly locate which pedals do what. You can then find their locations on the instrument, and use the related instructional material as usual.
It also simplifies exchanging harmonic ideas between two different tunings. For example, advanced players that call the lever that raises strings 4 and 8 “LR”, will easily see that I call the 4th and 8th string raise “LL”. They can make a quick adjustment in their head and continue using the related instructional info as usual. Players can therefore use the website even if their pedal/lever arrangement is different.
The bar copedent can also be used to find notes rapidly. By substituting the actual notes in for the pedal names, you can see the overall tuning structure at each bar position without getting bogged down in which location for each pedal/lever is the best. So if you know the notes at the center bar position, it is easy to see what the new note a pedal or lever will make at that bar position.
For example if the bar is at fret 3, and you know the central notes, the bar copedent will tell you what the relative notes are.
I call this the 'note finder' diagram. Some people might call it a 'hopscotch' diagram. In either case, this diagram helps me mentalize where the notes are as I move the bar across the neck.
Here is what the notes at the open position (no bar) look like using the note finder. The bar copedent is placed next to it for reference:
This open position 'note finder' can be used to easily compare one tuning to another.
Examples of Bar Copedents
The following is a collection of open position notes from actual players. Each one is named after the most famous player who uses it. The number of pedals and levers on their instrument is noted at the top right of each diagram below.
Pedal Steel E9 Chord Chart Pdf Key Of C
I put this list together to see how different a player's copedent really is from someone else's. Of course, assigning a tuning to a different lever or pedal will limit some combinations and create others. But if you want to know the bare bones of their tuning and what actual notes can be reached at each bar position, then these diagrams are helpful. They will also give you an idea of what notes are considered more 'valuable' to players, because they have the change present somewhere on their instrument, wherever that may be.
Pedal Steel E9 Chord Chart Pdf Download
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