The Steel Guitar Forum

Now John that's about the best explanation I've heard,,,or could ever hope for!!!! So, based on the copedent here on the forum, if I switched pedals1 and2,what would I activate to put me in 9th mode,,,,and which levers would be used with that? As on an E9 tuning, the E's on the Bb6 tuning are on st...

Need help figuring out the pedal/lever arrangement for Reese,s Bb6 copedent using the Day set up CBA instead of ABC. Involves more than just switching the pedals,,,since levers have to work in conjunction with pedals. Can someone more knowledgeable on copedents help out. My ankle just will NOT rock...

Thanks for sharing John! Dad and Harley would spend many hours together in the "garage". In fact, many a steel picker visited my Dad's "garage" over the years. So, whereabouts are you located? I might have met your father back in the 70's or 80's, but I don't remember visiting t...

The S12 is actually a reincarnation of a double 12 string MSA that was owned by a very dear friend of my Dad - Harley Brendal. Dad used the neck, tuning head and changer housing from Harley's steel and then added his personal touch for the changer and under carriage (for which he was known for). I ...

Wonderful.

Really good, Mike! I share your appreciation of Clare Fischer, and have been paying a lot of attention to his music for some years.

Nice to hear these - Thanks for posting them.

Miles Davis (the "Lost Quintet"), September 1969 @ Shelly's Manne Hole in Hollywood, CA.

I've written two books on improvisation I ordered a copy of your second book based on its Introduction and some of your other writings I found on line. 'The Event' increasingly became the focus. That is to say, something intangible that all of these localised events within the music point towards, ...

I like both tracks. In each I heard many events and subtleties that were interesting and pleasing to me.

A smile indeed. :) Then I went to the video section of your web site and listened to practically everything there. It's all so well done that it's a little misleading to single anything out, but I will say that your harmonica playing astonished me, and I also greatly enjoyed hearing all the viola da...

Practicing is mentally exhausting for me and I need a break after 20 or 30 minutes. On a good day I can do that 5 times ... but that reminds me of a Garry Graffman book. Gary Graffman, concert pianist whose career as such was eventually ruined by a performance-related hand injury, compounded by his...

Very nice!

Very nice!

On hearing DwayneKong's recordings, Eusebius wrote:Hut ab, ihr Herren, ein Genie!

Translation: "Hats off, gentlemen, a genius."

The bands I play in are music theory deserts. I would expect the guy to play Cm as the relative minor to C6. Nope, not kidding. In a way I'm with your bandmates, not having previously encountered the use "relative minor" or "relative major" in relation to specific chords. I too ...

[T]he main problem is that the pedals and tunings on commercial steel guitars are pretty much the same, and the instrument is kind of programmed to sound a certain way. It takes a very creative player to get outside that box. Also because the sound is so pleasing, most are happy to play the languag...

Once you get beyond Major 6th and Minor 7th chords, the theory of relativity goes a little south for chords. But it is very useful up to that point. If you are the guy in the rehearsal saying "Instead of C6 in the third measure, let's play the relative minor chord," are you confident of w...

Imagine rehearsing with another musician who says, "Hey Fred, when we get to the second measure, instead of playing Emin7(b5) let's play the relative major." What??? :roll: Yeah, that's a problem. I'd say, "Okay if I flat the 3rd then?", and play Gm6 . ;-) Hey, I'd call that a p...

I think what we’re missing is a weed whacker. I’m no music PhD, but indulge me here. [Snipped] I understand your analysis and agree that it is logical. However, I've come to the conclusion that it is simply an error to apply the terms "relative major" and "relative minor" to...

Fred Treece wrote:There are only 2 ways to close-voice a 7th chord: R-3-5-7 and 7-R-3-5.

There are four ways to close-voice a 7th chord, as shown in the article Bill linked to: Root position and three inversions.

I was talking about doing the drop 2 of the standard inversions, . . . for instance: https://www.guitarlessonworld.com/lessons/drop-2-chords/ No confusion on that, but whether or not mentioned in the article you linked, doing the "Drop 2" procedure changes the inversion of the chord by ch...

Wouldn’t that make the formula Root: 5 R 3 7 1st inversion: 7 3 5 R 2nd inversion R 5 7 3 3rd inversion 3 7 R 5 ? Or am I misunderstanding something? Yes I think so. In conventional music theory anyway, the inversion of a triad or seventh chord is determined solely by reference to the bass note, ...

Your question about whether some chords don’t have relative minors or majors is a very good one. With no common intervals, I don’t see how Gaug can be the relative major of Edim . . . . I have to agree with your logic and implied conclusion here. But then, I did not originate the idea that the ...

This is what Paul was talking about when he mentioned getting lost in “the weeds of music theory”. The "weeds" here are those that are found naturally growing in "grass roots" music theory. I would say Gaug and Edim are not related because they perform completely different h...