Development of tunings/setups

ed packard · Post by **ed packard** » 28 Jan 2003 10:36 am

EVOLUTION AND DEVELOPMENT OF SG AND PSG TUNINGS AND SETUPS:
copyright 2003, ed packard

The SG and PSG has evolved from a six string with no changes (pedals/levers) to as big as a twenty string single neck, four neck eight strings, double tens with 21 pedals, double twelves, and up to fourteen string "universals".

The most common tunings that have emerged have been variations of sixth, and seventh based chord structures such as E7, A6, C6, Bb6, Eb7, D7, etc. The 9th has been added in many cases so we get E9, C6\9, and so forth.

Other tuning types, such as the Alkire, and Leavit(sp?), and Diatonic are in a pasture all their own. one of their characteristics is that they are extremely grip sensitive, and it is difficult to morph from one chord to another in the standard (common) progressions.

The sharp key tunings (E,A,D,G,B)and C seem to have happened by way of the open chords on the standard six string guitar having sharps for signatures (except C). The same seems to have been true for the difference in string separation at each end of the neck, ..it is left over from the standard guitar.

The largest quantity of music is written in flats. Keyboard players, horn and woodwind men etc. prefer in general to play in flat keys. Some PSG players that lean toward standards, jazz, and swing tune down to flat keys such a Eb, Bb, etc.. This allows for open string harmonics to fit with the big band keys, as well as allowing hammer ons and pull offs in flats.

Several PSG players have been/are well known for their "chord" expertise; Tharpe and Chalker perhaps the most well known. They dared to venture into the second octave of chord structure = 9,11,and 13 and alterations therof.

PSG styles may be put into categories; Scale runners, lick chasers, and chord freaks. One extreme of the scale runner are those that would like to be able to run the commonly used scales without moving the bar from a given fret. A reasonable amount of licks are based upon partial and/or syncopated scales. The extreme of chord freaks (me?) would like to be able to apply at least scalar harmony in 3 and 4 tone chords to the key scale, and preferably also the 5,6,&7 tone chords. This is not so far removed from the scale runner as such a chord capability provides all the intervals/notes of the scale being harmonized.

The tuning/setup that one choses should allow the type of music that that someone wishes to play. If it is intended to play with a group that does Eddy Arnold, Hank Williams, Hank Snow type tunes, then six strings will do, and changes (pedals/levers)are optional, or simple at best. The closer one gets to swing groups and big band, the more one needs to access the appropriate chords, hence more strings and more changes would seem desireable. If one is to play alone, then an extended frequency range that will allow the keyboard left hand parts will be desireable to make a full sound, ..Bill Stafford is a master at this. There is a physical and practical limit to the number of changes and strings that can be applied to a single instrument to meet the needs of all the aforementioned styles and approaches. One game to be played is to see how many needs can be satisfied with how few changes.

This lengthy preamble is to establish a platform from which to launch what follows. What follows is a look at what can be done with the modern hardware for the PSG. We will show a number of charts for the neck, available scales, intervals, chords, etc. for variations of tunings/necks. We will limit our changes to 3 halftones up and 3 halftones down. We will use 14 strings max, and you can adjust/throwout/rearrange to suit yourself if you prefer fewer. Our starting point will be a C6 type tuning structure as the key of C is easiest to talk and think in for most readers.

The charts used will be from a computer program that I use. It is an Excel spreadsheet. Posting these removes/distorts the formatting, which is color coded and provides the string lenes etc. If you wish, you could print it out and add the string lines, ..or if you can handle Excel spreadsheet files, email me and I will send them to you as an attachment complete with formatting and color coding.

The opening charts will be based upon a 14 string layout for C6 with the D (9th) as the top string, and three octaves of C,E,G,A below it.

After trying the graphics, it appears that this is not going to work out here, but for any that wish, we can supply the complete charts etc via direct email if you can handle Excel spreadsheets; In the meantime I will try to continue using "short form" charts. The first C6 tuning is as follows:

<pre>
TUNING = PST 13 SERIES C6 #1
STR NOTE INTERVAL
1 D 2-9
2 A 6-13
3 G 5-bb13
4 E 3-b11
5 C 1-#7
6 A 6-13
7 G 5-bb13
8 E 3-b11
9 C 1-#7
10 A 6-13
11 G 5-bb13
12 E 3-b11
13 C 1-#11
14 G 5-bb13
</pre>
This is a simple neck tuning for C6 with the 9th on string #1, a high A on string #2, three octaves of C,E,G,A on fret 0, and a 5th and root on strings #14 and #13.

The next chart (shortened) shows the 4 and 5 tone chord types available on adjacent strings. 6, m7, ms4, and 6s2s4(5)= no 5th prevail. The email charts would contain 2,3,4,5,6&7 tone chords, ..no room here.
<pre>
TUNING = PST 13 SERIES C6 #1
CHART FOR C =1- =I
CHORD TYPES AND DESIGNATORS
RN = clist
Str TUNED NC Chord
# C FRET 0 DESIGNATOR
INTERVALS NOTES CLASSIC 4 TONE 5 TONE

1 2-9 D II
2 6-13 A VI
3 5-bb13 G V
4 3-b11 E III
5 1-#7 C I 6
6 6-13 A VI m 7 m 7 *
7 5-bb13 G V 6 s2s4(5) 6 s2s4 *(5)
8 3-b11 E III m s4 #5 m s4 #5*
9 1-#7 C I 6 6 *
10 6-13 A VI m 7 m 7 *
11 5-bb13 G V 6 s2s4(5) 6 s2s4 *(5)
12 3-b11 E III m s4 #5 m s4 #5*
13 1-#7 C I 6 6 *
14 5-bb13 G V 6 s4 *(5) 6 s4 *9 (5)
COPYRIGHT 1995 ED PACKARD </pre>

The above chart just goes to the 4 tone chords as the rest would make the text too wide to read easily, ..you can get the whole thing via email if you would like.(n) means that the n interval(s)is/are missing from the chord. * indicates an octave interval exists in the chord as named.

Finger pulls, or half tone changes, can give the C6s4, C7, C7s4, C7#5, A7, A7#5, Am7#5, C#m6b5 = C#dim7, and other tunings/chords on fret 0, plus others with the roots missing, such as FM7 & FM9. Half and full tone raises and lowers provide the capability to get still more chords/tunings. Most of todays instruments allow tree halftone raises and lowers further expanding the possibilities. There are also slant chords available.

To see this tuning as a neck with all C scale notes shown, also as a neck with all C scale intervals shown, just email me and I will email them back to you.

Because there are many possible chords available via changes, perhaps we need to look at what chord types we might most want to use.
<pre>
MAJOR 1st MODE = IONIAN SCALE:
CHORD CHORD TYPES FOR SCALE HARMONIZING CHORDS:
TONES I = C II = D III = E <==CHORD ROOTS = "DESIGNATORS"
7 M13 m13 m11b9b13
6 M11 m11 m11b9
5 M9 m9 m7b9
4 M7 m7 m7
3 M m m

IV = F V = G VI = A VII = B
7 M13#11 13 m11b13 m11b5b9b13
6 M9#11 11 m11 m11b5b9
5 M9 9 m9 m7b5b9
4 M7 7 m7 m7b5
3 M M m mb5
</pre>
From this chart we see that M7, 7, m7, and m7b5 chord types are required for 4 tone scalar harmony; M13, 13, m13, and variations are needed for 7 tone scalar harmony. 5 and 6 tone types (9th & 11th) are contained within the 7 tone just as 2 and 3 tone types are contained within the 4 tone.

Lets plot out the 4 tone chords that can be made from the C6 #1 tuning.
<pre>
NC NC CM7 C7 Cm7 CM7b5 C7b5 Cm7b5
STR NOTE INT NOTE NOTE NOTE NOTE NOTE NOTE
1 D 2 - - - - - -
2 A 6 B Bb Bb B Bb Bb
3 G 5 Gb Gb Gb
4 E 3 Eb Eb
5 C 1
6 A 6 B Bb Bb B Bb Bb
7 G 5 Gb Gb Gb
8 E 3 Eb Eb
9 C 1
10 A 6 B Bb Bb B Bb Bb
11 G 5 Gb Gb Gb
12 E 3 Eb Eb
13 C 1
14 G 5 Gb Gb Gb

NC NC M7#5 7#5 m7#5 M7s4 7s4 mM7
STR NOTE INT NOTE NOTE NOTE NOTE NOTE NOTE
1 D 2 - - - - - -
2 A 6 B Bb Bb B Bb B
3 G 5 G# G# G#
4 E 3 Eb F F Eb
5 C 1
6 A 6 B Bb Bb B Bb B
7 G 5 G# G# G#
8 E 3 Eb F F Eb
9 C 1
10 A 6 B Bb Bb B Bb B
11 G 5 G# G# G#
12 E 3 Eb F Bb B
13 C 1
14 G 5 G# G# G#
</pre>
There are some physical limitations in the above, ..namely that the second string A might make it to a Bb on todays instruments that tend to break less strings, but to B is pushing your luck.

The Dim 7 chord type (m6b5 = 1,b3,b5,bb7 = C,Eb,Gb,A), and the 6S4 = 1,#3,5,6 = C,F,G,A are not in the list (a typing convenience).

The full group of 4 tone chords requires a lot of changes, ..b the 3rds for minors, # the 3rds for s4, b the 5th for b5, # the 5ths for #5, # the 6ths for b7, ## the 6ths for M7, and we ignored the S2 group. For the scalar harmony we only "need" M7,7,m7, and m7b5, but for added passing tones we could well use the rest.

The chord types above are mostly strumable, except for those with single halftone steps between notes such as the M7 series.

So far we have treated the chord type requirements as if all types must be made in the key of C (the scale root key that we chose for simplicity), ..this is only one way. Before we continue into the 5,6,&7 tone chord types, lets look at some terminology and concepts.

1.There are "key roots" and there are "chord roots".

2.The chord types that provide "scalar harmony" for a chosen key are made up of the notes from that key's scale.

3.If the chord root is an odd (1,3,5,7,9,11,13) interval in the chosen key, the rest of the chord's intervals are also odd intervals of that key. 6th chords are bb7, s4 chords are #3, and so forth, ..this makes for a self consistant set of rules.

4.If the chord root is an even (2,4,6,8,10,12,14) interval in the chosen key, the rest of the chord's intervals are also even intervals of that key.

5.The odd intervals (1,3,5,7,9,11,13) for a given key spell the IM13 chord.

6.If the root of the IM13 chord is on a music staff line, the rest of the intervals/notes in the IM13 chord are also on a line; If the root is in a space, the rest of the notes/intervals are also in spaces.

7.The even intervals (2,4,6,8,10,12,14) for a given key spell the IIm13 chord.

8.If the root of the IIm13 chord is in a music staff space, the rest of the chord's intervals/notes are also in spaces.

9. If the intervals/notes of the IM13 chord are on music staff lines, the intervals/notes of the associated IIm13 chord are in the spaces, ..and the other way around.

10. There are 2,3,4,5,6,&7 tone chords. The 2,3,&4 tone chords are in the root octave; The 5,6,&7 tone chords are in the next octave.

11. This approach may be referred to as a two octave seven tone chord structure. the chords from our scalar harmony chord chart are all contained in the notes and intervals of the IM13 and IIm13 chord structures.

12. The IM13 chord contains the IM7,IIIm7,V7 4 tone chords as well as the appropriate 5,6,&7 tone chord types.

13. The IIm13 chord contains the IIm7,IVM7,VIm7 4 tone chord types as well as the appropriate 5,6,&7 tone chord types.

Before returning to the C6 neck expansion, we will give an example of the info in the above 13 comments in chart form. This will provide an wider horizon when we return to the C6 expansion.
<pre>
C scale:
chords=> IM7 IM11 IIIm7 VIIm7b5 VIm7
Int I IM9 IM13 V7 IIm7 IM7
Note IVM7
7 B B
5 G G G
3 E E E E
1 C C C C C
13 A A A A A A
11 F F F F F F F
9 D D D D D D D D
7 B B B B B B B B
5 G G G G G G G G
3 E E E E E E E
1 C C C C C C

CM13 CM7 CM11 Em7 Bm7b5 FM7 CM7
C CM9 CM13 G7 Dm7 Am7
</pre>
Only the odd interval four tone chord expansion has been shown. From this you can see the pattern and expand the chart yourself; the same process can be applied to a chart for the IIm13 (even intervals of the I scale). In these charts you will see how the chords and chord types are related to the scale.

Please notice that the notes in the second column (bottom up) are the notes on the lines in the treble staff of sheet music.

Please notice that sequential intervals in each chord are on sequential lines in the treble staff.

Please notice that the sequential notes could well be on sequential strings if the tuning were so designed.

Please notice that the notes/intervals shown would be the alternate strings of a C Diatonic tuning, and the alternate white notes of the keyboard, ..The IIm13 expansion would be the other set of alternate strings in a C Diatonic tuning, and the other set of alternate white keys on the keyboard.

Again, ..fully formatted color coded expansion charts for this principle are available in Excel for the asking.

Armed with what has been learned in the above, lets return to the C6 neck/tuning expansion.

Lets take the "common" changes that have been applied to the C6 neck and apply them to our C6 #1 neck and see what we get.
<pre>
P5 P6 P5P6 R> P4 P7 P8 P5A
b3 b5 b3b5 b7 7 7,9 A7 D11
A Bb B
G Gb Gb
E Eb Eb
C D C#
A Bb B B
G Gb Gb X
E Eb Eb F#
C A D
</pre>
Not all C6 setups use the same pedal/lever to get a given set of changes, but the one given are fairly common. P4 generaly gives the IM7 chord. P5 flats the 3rd to give the Im6 chord. P6 flats the 5th to give the I6b5 chord. P5P6 together give the Im6b5 or Idim7 chord. P7 tiptoes into the second octave to give the IM9 chord. P8 changes from the I chord to give an VI7 chord, ..the ingloriously named BOO-WAH change. P5 often does double duty to give the b3 in the upper octave and the makings of a II7 chord in the lower one; Here we name it P5A and have it make the II11 chord, allbeit by skipping the string marked X.

The last set of tuning/neck variations can be inserted into the C6 #1 structure in several ways. We will not illustrate these here, but they should be fairly obvious.

Notice that C6 is becoming other tunings (A7, D7, etc.), and is invading the two octave chord structure (CM9, D11, etc.).

The next step will be to modify the C6 #1 structure by considering the possibility of adding roots to rootless chords. We presently have three octaves of C,E,G,A. Without changes,these notes give the C6 = Cbb7 chord, and the Am7 chord. If we take the A,C note combination and add an F below it we can have F, FM7, FM9, and FM9b11 chords, all on adjacent strings, as well as C6 and Am7 in the upper octave(s).

Now we have the note series F,A,C,E,G; The F,A note combination is Dm without a root, ..if we add the D note below it we now have the Dm, Dm7, Dm9, Dm11 chords on adjacent strings with F, FM7, FM9, FM9b11, C6, and Am7 chords, without changes, all on the "C6" neck!! Adding a C below the D will give us the Root and 5th for the F chord series on the bottom strings. Lets see how that looks. We will call this neck C6 #2.
<pre>
PST C6 #2 NECK:
Chords=>IIm7 IIm11 IVM9 I6
STR NOTE IIm9 IVM7 VIm7
1 D
2 A
3 G
4 E
5 C
6 A A A
7 G G G G G G
8 E E E E E E E E
9 C C C C C C C C C
10 A A A A A A A A
11 F F F F F F F
12 D D D D
13 C
14 F
Chords => Dm9 FM7 FM9b11 C6
Dm7 Dm11 FM9 Am7
</pre>
The chords have been named assuming that C is the scale root. Notice that if we had continued with the "add the root" approach, D,F,A would have becom B,D,F,A giving the Bm7b5/VIIm7b5 chord, ..we chose instead to use a C note to have the 5th for the F series chords in the bass end.

Check the chord types, AND the actual chords against the list (above) of chords needed to do scalar harmony, ..things are beginning to happen.

Notice that this approach does not materialy hinder the application of the "common" changes used in C6 setups.

Notice that the F series goes up to FM9b11, ..raise it to FM11 and add the 13th(C to D) and we have the M13 chord.

Notice that the D series goes up to Dm11, ..add the 13th (A to B) and we have the m13 chord.

Do you see the pattern emerging? The progression from the early six string Hawaiian guitar triadic tunings, thru the 4 tone tunings on up to four necks, to the 5 tone tunings on the double 12 PSGs, to the more up to date "combination tunings" of the double 12s and the 12 string "universals", ..and now the possibility of a "tonal palette" with the full 13 series structures available, containing all the chord types required for scalar harmony?

Notice how the C neck has come to encompass an F neck?, ..Does this begin to sound like C6/F9, or lowered one half tone to a B6/E9 neck, or lowered another halftone to a Bb6/Eb9 neck? These two structures can be separated by adding the appropriate changes, and yet played both at the same time, or as individual tunings by adding "loks".

Using the lok approach makes it easier for those migrating from the E9 or C6 tunings as they can continue to use the grips to which they are already muscle/mind trained, and still have the added tonal structures available for advancement.

It is possible to start with an open stringed 13th tuning (M13,13,m13) and via changes/loks morph to the more common 9th and 6th and associated changes. This would be very strange for existing pickers (14 strings is frightening enough for the double 10 folk), so our approach herein will be to add in the 13 series via changes while maintaining the conventional changes from both the common C6 and E9 tuning types.

We have shown the simple three stacked octaves of C,E,G,A neck (C6 #1) and some of the C rooted chord variations that could be applied to it; Then the C6 #2 neck developed from C6 #1 by adding new root notes to the basic C6 structure, and some of the resulting chords. While doing the latter, we saw that the C6 #2 neck began to take on the look of other tunings such as Dm and FM. We then applied some of the "standard" C6 changes to that neck, and found that some of these changes were also giving different tunings, such as A7, and D7 based chords. This being the case, lets take the C6 #2 neck and see what else it might be conveniently morphed into via adding some other changes.

<pre>
C6 #2 MORPHED TO OTHER TUNINGS/NECKS
C6 Bb6 A7
Tuning >F69 G6 A6
STR NOTE
1 D C# C#
2 A Bb B
3 G F#
4 E F F
5 C D D C# C#
6 A Bb B
7 G F#
8 E F F
9 C D D C# C#
10 A Bb B
11 F G G F#
12 D E E
13 C Bb B C# A
14 F G E E

C I IV bVII V VI VI
F V I IV II III III
Bb II V I VI VII VII
G IV II bIII I II II
A bIII #V IV bVII I I
</pre>
Only the notes changed from C6 #2 to make the new tunings/necks are shown. With the exception of one note, all are within 2 halftones of the C6 note. The tunings shown have been limited to major keys, and mostly kept to 4 tone chord structures (6th and 7th based); other variations such as G7 could have been added, but the approach should be apparent. You may wish to expand/complete the chart to include your favorites.

The Roman numerals show what interval each tuning/neck is with respect to the other, each in turn being used as the I chord.

The most common Chord progressions in "country" music are I,IV,V, therfore it would seem that we would like to get the I,IV,V chords/necks/tunings via changes with the least amount of changes, and keep adjacent intervals in the tunings as adjacent strings.

As we expand into the standards swing and jazz, we need to add the II,III,and VI chords/tunings, ..then finally the bVII and VII chords and expansions thereof.

The object of this exercise is to pick a base tuning/neck (no changes activated) from which we can morph to the most desired "other" tunings/necks, and alterations therof, for the type of music that we wish to play.

From the chart above, I would choose the F based tuning for the base tuning/neck as the IV and V chords need few changes to make them, plus the II and III chords are also nearby if desired.

The second choice for a base tuning (from the chart) would be Bb. The only problem with F or Bb is that string #2 gets into the breaking zone. This problem is solved by lowering the chosen base tuning by one, two, or three halftones , ..from F to E, or to Eb. The voicings and interval relationships will remain the same and the string issue goes away.

This will make the country pickers happy as E would be a common tuning structure for them and is a # key. The Eb base tuning (no changes activated) would be fine for other than country pickers as it is a b key.

Having chosen the F neck as our I neck, and knowing that we can easily make the Bb=IV and C=V necks from it via activating changes that are yet to be defined, Lets see what we can get in the way of two octave chords on the F neck via changes. We will continue to show the C scale as it has no bs or #s and is easier to talk in and understand. The C chord on the F neck is found at the 7th fret.

<pre>
THE I=F AT FRET 0: NECK EXPANDED TO INCLUDE THE 13 SERIES, SHOWN AS I=C AT FRET 7.
FRET 0 FRET 7 FRET 7 FRET 7 FRET 7
F69 C69 CM13 C13 Cm13
STR
1 D A 6 A 6 A 6 A 6
2 A E 3 E 3 E 3 -Eb b3
3 G D 2-9 D 2 D 2 D 2
4 F C 1 C 1 C 1 C 1
5 C G 5 ++A 13 ++A 13 ++A 13
6 A E 3 +F 11 +F 11 +F 11
7 G D 2-9 D 9 D 9 D 9
8 F C 1 -B 7 --Bb b7 --Bb b7
9 C G 5 G 5 G 5 G 5
10 A E 3 E 3 E 3 -Eb b3
11 F C 1 C 1 C 1 C 1
12 D A 6 A 13 A 13 A 13
13 C G 5 G bb13 G bb13 G bb13
14 F C 1 C #7 C #7 C #7
</pre>
We show above the I neck at fret 0 = F69, at Fret 7 (position 7) = C69, and the changes needed to get IM13, I13, and Im13 chord structures using any fret as the I chord. There are other 13 series structures.

Why do we care about the 13 series structures?, because they contain the chords required to do scalar harmony within their M13 and m13 structures, ..we threw in the plain 13 for free. Don't panic at the callouts for strings 13 & 14; This is because we chose string 11 as the 1 interval, thus driving 13 & 14 notes into the second octave.

Lets explode the M13 structure in terms of the included chords. These chords will have the chord roots in terms of the odd intervals of the I neck scale, in this case
we will use the I neck = C scale (as found on fret 7).
<pre>
THE IM13=CM13 NECK EXPLODED AS 4 TONE CHORDS:
FRET 7, C=I. Dm7
STR CM13 CM7 Em7 G7 Bm7b5 FM7 Am
1 A X
2 E 3 E E
3 D 2 X X
4 C 1 C C C
5 A 13 A A A A
6 F 11 F F F F
7 D 9 D D D D
8 B 7 B B B B
9 G 5 G G G
10 E 3 E E
11 C 1 C
12 A 13
13 G
14 C
IM7 V7 IIm7 VIm
IM13 IIIm7 VIIm7b5 IVM7
</pre>
Several things to be noticed here, .. Using string 11 as the line (C) below the treble staff puts all the chord notes of this chart also on lines (sight reading anyone?). Strings 2 & 3 are in an inconvenient order for our present purpose. The top VIm chord (strings 5,4,2) does not have the fourth term/note. The IVm7 chord does exist on strings 12,11,10,9. Not to worry, we will take care of both issues before we are thru. The string 2&3 order was dictated by the C6 tuning from which we started. If we switch them, we have the order that begins to look like that of the E9 tuning as commonly used; we will do that for the next charts (Im13 etc).

Re the 13 series, we have already shown that we can make the m13 structure on the same fret as the M13 structure and in the same key, ..further, that we need the IIm13 structure for the chords based upon the even intervals of the key scale (C in this case), so the next chart will show the m13 structure two frets up (fret 9) from where we showed the IM13 structure (Fret 7), ..all chord notes will be in the spaces of the treble staff. We will also reverse the order of strings 2&3.
<pre>
THE IIm13=Dm13 STRUCTURE EXPLODED AS 4 TONE CHORDS:
FRET 9, C=I. Dm
STR Dm13 Dm7 FM7 Am7 CM7 Em7 Gm7 Bm7b5
1 B
2 A 6 A A
3 F 4 F F F
4 D 2 D D D D
5 B 14 B B B B
6 G 12 G G G G
7 E 10 E E E E
8 C 8 C C C C
9 A 6 A A A
10 F 4 F F
11 D 2 D
12 B 14
13 A
14 D
IIm13 IIm7 VIm7 IIIm7 VIIm7b5
IVM7 IM7 V7 IIm
</pre>
And there, just two frets away from the odd interval chords are the even interval chords, ..we have the chords that we need to harmonize the I scale in 4 tone scalar harmony using just two frets! Does this work for 5,6,& 7 tone chords also, ..yes as you will se from the charts by adding the next notes on the up side of each 4 tone chord shown.

Scalar harmony is a way of harmonizing the notes of a key scale using chords having only the notes of the key scale. This works with either the major or minor diatonic scale and probably the modal variations thereof (depending upon your taste) ..we have shown the common major (ionian mode)scale for illustration. This is the scale that is most familiar to most of us PSG pickers.

We chose an F69 tuning/neck to apply the 13 series; It can be applied to any of our other tunings/necks with a bit more difficulty re changes. The plain 13 structure will be left to those that wish to do it themselves; Those that ask for the fully formatted color (colour) Excel charts will get that and the complete 2,3,4,5,6,&7 tone necks.

Now with the 13 series out of the way for the moment we can return to other issues related to the integration of the I,IV,V, and other tunings/necks into as few physical necks as practical.

Our I neck (F69) closely resembles the common E9 neck but with a missing middle b7 interval, an added 6th interval in as string 12, a 6th interval for the out of order (re E9) first string. It is this neck on which we explored the 13 series.

Our V neck (C6 so called) is close to the "fancier" of the common C6 necks, exceptions being that There is a high A at the top. We have shown the logic of the C6 #2 expansion from the C6 #1 neck. The C6 #2 neck as commonly used has a number of accepted changes that provide a great degree of musical flexibility, so we will leave that neck as is for a while.

Our IV neck (Bb6) is a neck that is most ignored for musical capability via changes, ..It will be seen to be what would be an A6 neck if the base tuning neck was an E. Recall that the C6 #1 tuning had a nice three octave set of repetitive 4 tone chords, and we examined it to show many of the 4 tone chords that could be made with the C note as the root. three octaves of 4 tone chords with a common root is a nice musical thing to have; We will now turn our present IV neck into almost such a structure.
<pre>
IV NECK WITH ALL 4 TONE CHORDS HAVING THE SAME ROOT:
FRET 2 :(The I chord would be G on fret 2)
HALFTONE CHANGES REQUIRED TO GET INTERVAL:
STR IV=C6 b7 7 b5 #5 b3 #3 7A
1 E 3 -1 +1
2 A 6 +1 +2
3 +C 1 -1
4 G 5 -1 +1
5 ++E 3 -1 +1
6 +C 1 -1
7 A 6 +1 +2
8 G 5 -1 +1
9 ++E 3 -1 +1
10 +C 1 -1
11 G 5 -1 +1
12 E 3 -1 +1
13--C 1
14 G 5 -1 +1
</pre>
For the ease of dealing with C as the chord of topic (IV in this case) we will move the I chord to fret 2, it becomes G. The + and - signs in the second column indicat how many semitones (halftones) by which the I69 chord notes had to be changed to get the IV6 chord. The -1, +2, etc in the rest of the columns indicate the number of halftones by which the IV6 chord must be modified to get the intervals indicated at the top of the column. These changes can be combined to get The various chords with the C as the root.

The chord types available are 6,6b5,b7,b7b5,b7#5,we will skip the s4(#3) types as these would require a total raise of 3 halftones,M7,M7b5,m6, m6b5,m7,m7b5,m7#5. There are two ways to get the M7 series, one is strumable and one is not. The strumable one gives up the roots in the upper octaves and lets a 6th into the chord if no skip grips are used, ..matter of taste.

We could make some 5,6,7 tone IV neck structures but there will be many of those in the I and V neck chord types.

Next we will look at the I neck using the same approach. The key of C on our I neck will be found on fret 7.
<pre>
I NECK WITH ALL 4 TONE CHORDS HAVING THE SAME ROOT:
FRET 7 :(The I chord is C on fret 7).
HALFTONE CHANGES REQUIRED TO GET INTERVAL:
STR I=C69 b9 9 #9 b7 7 b5 #5 b3 #3
1 A 6
2 D 2-9 -1 1 1
3 E 3 -2 1 -1 1
4 C 1 1 2 -2 -1
5 G 5 3 -1 1
6 E 3 -2 -1 -1 1
7 D 2-9 -1 1 1
8 C 1 1 2 -2 -1
9 G 5 3 -1 1
10 E 3 -2 -1 -1 1
11 C 1 1 2 -2 -1
12 A 6-13 1 2 -2 -1
13 G 5
14 C 1 1 2 -2 -1
</pre>
This is our base neck (I neck) viewed on fret 7 to make it easy to read (in the key of C). Because it already has a 9th in the tuning, we included the changes to make other 9ths; also the b9 and #9 intervals that are common in jazz (7b9 chord types etc.) but are mostly left off the PSG setups.

We now repeat the excersise for the V neck, ..the V neck is a C neck and will be found on fret 0.
<pre>
THE V NECK WITH ALL 4 TONE CHORDS HAVING THE SAME ROOT:
FRET 0 :(The I chord is F on fret 0)
HALFTONE CHANGES REQUIRED TO GET INTERVAL:
STR V=C69 b9 9 #9 b7 7 b5 #5 b3 #3
1 D 2-9 -1 1
2 G 5 -1 1
3 A 6 1 2
4 -E 3 -2 -1 -1 1
5 C 1 1 2 -2 -1
6 A 6 1 2 -2 -1
7 G 5 -1 1
8 -E 3 -2 -1 -1 1
9 C 1 1 2 -2 -1
10 A 6 1 2 -2 -1
11 -E 3 -2 -1 -1 1
12 D 2-9 -1 1
13 C 1
14 G 5
</pre>
Column 2 again contains the - sign as it is required to morph the I chord into the V chord. The values of halftone change given in the body of this type of chart are the halftone changes required to make the interval shown at the top of the chart ONCE the column 2 note exists. To make the IV or V chords with the interval changes shown, the - and + quantity shown in column 2 must be algebraicaly added to the interval change numbers shown in the body for the same string that the + or - are on.

If we sum all the changes for the I,IV,V chord charts, we will have too many changes for todays changer mechanisms to handle, so we will have to be selective and reduce the number of changes while maximizing the number of desireable chords.

One way to do this is to chart the chosen base neck/chord/tuning and then add the halftone changes required to morph to the other desired "basic" necks; Then look to see which changes they have in common. Change mechanisms can be made to share these common changes, ..microtuning issues can be considered later.
<pre>
STR C6#2 F9 FM13 F13 C13
F69 Bb6 C6#1 Fm13 BbM13
1 D 2
2 G
3 A 1
4 F -1 -1 -1
5 C 2 2 2 2 2 2
6 A 1 1 1 1 1 2
7 G
8 F -1 -1 -1 -2 -2 -2 -1
9 C 2 3
10 A 1 3 -1
11 F 2
12 D 1 2
13 C -2 -2 -2 -2 -2
14 F
V6 I9 IM13 I13 V13
I69 IV6 V6#1 Im13 IVM13
</pre>
Column 2 shows our chosen base neck, F69. This is similar to an expansion of the common E9 neck, but without the D in the middle. The top strings are still in the order that satisfies the IM13 structure, and string 1 satisfies the V6 structure, ..quite optional in the top strings area.

Column 3 shows the halftone changes required to morph the I69 base chord/tuning/neck into the V6#2 chord/tuning/neck.

Column 4 shows the halftone changes required to morph the I69 chord/tuning/neck into the IV6 chord tuning neck. E9 players will recognize the P1 P2 change on the upper strings, ..here we carry it into the lower register as there is no Ib7th interval in the way (D in E9) and we can now have a complete IV6 chord/tuning/neck. This allows playing the same thging in two octaves, and on the same fret, ..nice cello parts too.

Column 5 shows the halftone changes required to morph the I69 chord/tuning/neck into the common but extended I9 structure familiar to the E9 player, ..same grips in the middle, and the top three strings can be reoriented to the I9 intervals.

Column 6 shows the halftone changes required to morph the I69 chord/neck/tuning into the V6#1 chord neck tuning for those that might want the three octaves of C6 on one fret. In this presentation that concept will be assigned to the IV chord/neck/tuning.

Column 7 shows the halftone changes required to morph the I69 chord/neck/tuning into the IM13 chord/neck/tuning structure. Please notice the similarity in the changes on strings 5,6,&8 for the 13 series chords/neck/tunings shown. Then notice that those changes also look like those required to make the V and IV chords. The reason is simple, ..they share the same notes with the I chord, the V chord, the IV chord, and the chords diatonic extensions of those chords.

Example, ..CM13 has 7 tones; C,E.G,B=CM7= the first 4 tones of the CM13 chord; If we extend the CM13 chord we will find that the 6,7,8,&9 tones are F,A,C,E=FM7=IVM7, thus requiring changes related to the I to IV chord morphing. Same argument for the I to V chord morphing found in the IM13 structure.

13 series structures may be spelled using any of their notes/intervals as the root, therefor the 7 tones provide seven possible names for the 7 interval combination. If you return to the chart showing the "scalar harmony" chords, and look at the 7 tone chords, you will find the various names for those 13 series chords containing the same intervals of the I scale.

The rest of the columns show other possible 13 series chords/necks/tunings. There are yet more, but the point is made for now.

Next we will take the basic I,IV,&V chords/necks/tunings shown in the previous chart and show the halftone changes needed to make these into their variations. We will do this by morphing the IV & V structures all the way from the "base" neck =I. We will concentrate on building chord types that are needed for scalar harmonization of the I scale. We are not yet ready to begin assigning pedals and levers to the needed changes as there will be some tradeoffs to be made, and some possible chords shown in the following charts will have to be sacrificed because of lack of available changes. Different folk would choose different structures.

Now for the I chord/neck/tuning = F69:
<pre>
VARIATIONS OF THE I69 NECK:
STR 7 b7 #5 #3 #9
F69 b7 b5 b3 b9
1 D 6-13 ++7 +b7 +b7
2 G 2-9 -b9 +#9
3 A 3 -b3 +#3
4 F R -7
5 C 5 -b5 +#5
6 A 3 -b3 +#3
7 G 2-9 -b9 +#9
8 F R -7 --b7
9 C 5 +++b7 -b5 +#5
10 A 3 -b3 +#3
11 F R
12 D 6-13 ++7 +b7 +b7
13 C 5 -b5 +#5
14 F R
I69
</pre>
This may look similar to a previous chart form, but it is easier for some to see the patterns if presented in this manner.

Two ways are shown for getting the b7; lowering string 8, or raising string 9. The String 8 approach fits best with expanding the I structure without skip grips, and allows use of String 9 for the b5 and #5 intervals. The string 9 approach is familiar to most E9 pickers and fits their muscle/mind memorized grips. It allows for more chromatis note walking than the string 8 approach. It does not allow for adjacent strings are adjacent chord intervals in the 9,11,&13 chord structures. Prepare to choose your primary approach.

We show the #3 interval/change, ..this is the interval that will be used in making the s4 chords. The chart stops with the #9 interval/change. The 9 interval is in the base chord/neck/tuning so it was decided to include it in this chart even though most PSG pickers don't use b9 and #9 changes. The 11&13 interval changes are not shown because of the practical consideration of typing columns in the limited message prep space; Not to worry, they will be covered.

Now to look at the V neck as morphed from the I neck. The starting point is the I neck (F69) defined with the V (C) neck Intervals.
<pre>
F69 b7 b5 3 #3 #9
STR C INT 7 #5 b3 b9
1 D 2-9 -b9 +#9
2 G 5 -b5 +#5
3 A 6-13 +b7 ++7
4 F 4-11 -3 --b3 NC
5 C R
6 A 6-13 +b7 ++7
7 G 5 -b5 +#5
8 F 4-11 -3 --b3 NC
9 C R
10 A 6-13 +b7 ++7
11 F 4-11 -3 --b3 NC
12 D 2-9 -b9 +#9
13 C R
14 F 4-11 -3 --b3 NC
</pre>
NC means no change.
Again, no room for adding more changes for creating such chords as VM9 by raising string 5 two halftones, ..or for adding b&# 11ths and 13ths.

Perhaps the E9 players see the Emmons setup P2, and the E to Eb coming in to get the b7 and 3rd intervals.

This leaves us with the IV chord/neck/tuning to do to complete the I,IV,V series.

Now to look at the IV neck as morphed from the I neck. The starting point is the I neck (F69) defined with the IV (Bb) neck Intervals.
<pre>
F69 R b7 b5 3 #3 #9
STR BbINT 7 #5 b3 b9
1 D 3 NC +#3
2 G 6-13 +b7 ++7
3 A 7 +R -b7 NC
4 F 5 -b5 +#5
5 C 2-9--R ++3 +b3 -b9 +#9
6 A 7 +R -b7 NC
7 G 6-13 +b7 ++7
8 F 5 -b5 +#5
9 C 2-9--R ++3 +b3 -b9 +#9
10 A 7 +R -b7 NC
11 F 5 -b5 +#5
12 D 3 NC +#3
13 C 2-9--R ++3 +b3 -b9 +#9
14 F 5 -b5 +#5
</pre>
Now this chart looks a bit complicated, ..choices, choices; It is not as bad as it appears as it will be our 4 tone multi octave chord/neck/tuning in it's simplest form.

So much for the I,IV,V halftone change possibility charts, sans 11ths, and 13ths (mostly).

A key point to remember is that a 6th chord type is the m7 chord type of its relative minor. What does that mean? The easiest way that I know to define is that they share the same signature on the sheet music; The keys of C and Am each have no #s or b3 in their signature, or in their scale notes. Therefor when we have a C6 (C,E,G,A) chord, we also have an inversion of the Am7 chord. This being the case we can respell our I,IV,V (F,Bb,C) necks as VI,II,III (D,G,A) as D is the relative minor to F, G is the relative minor to Bb, and A is the relative minor to C. The following chart illustrates the dance of the intervals; Same note is different intervals in different keys.
<pre>
C I IV V VI II III VII
Scale EQUIVALENT INTERVALS IN DIFFERENT KEYS:
B ##13 #11 b11 9 6 5 1
A 13 ##9 9 #7 5 4 #13
G ##11 9 #7 b7 4 b3 b13
F 11 #7 b7 #5 b3 b2 #11
E 10 7 6 5 2 1 11
D 9 6 5 4 1 #13 #9
C #7 5 4 b3 #13 b13 b9
B 7 b5 3 2 13 ##11 #7
A 6 3 2 1 bb13 11 b7
G 5 2 1 #13 #11 #9 #5
F 4 1 #13 b13 #9 b9 b5
E 3 ##13 13 ##11 9 #7 4
D 2 13 ##11 11 #7 b7 b3
C 1 ##11 11 ##9 b7 #5 b2
</pre>
Because of room we have left out bII,bIII,bV,#V,and bVII, ..but you can see the principle.

The first column gives the notes for the key of C (read from bottom up for increasing frequency/pitch). This is just for reference, you may make the I any key you wish and the rest of the relationships hold, ..they are key independent.

There are optional names for intervals like bb13, ##11, etc; They would be the same note and might be called by either name depending upon the context.

The octave note has been called #7; It could be called bb9, again depending upon the musical context.

The meaning of the above chart to us at this time is that if we have a string that is the 5th interval in the I chord, it is also the 2 interval in the IV chord, and the I interval in the V chord. If we raise it two halftones via an activated change it becomes the 6 interval in the I chord, the 3 interval in the IV chord, and the 2 interval in the V chord, etc.. It is from these interval vs key relationships that our previous three charts of changes were generated.

The order of the immediatly previous chart is intentional as I,IV,V ishe most common orogression for PSG players, and the relative minors for these keys are VI,II, and III. The VII was thrown in for free as there was space.

Back in a bit, ..debating whether or not to do the VI,II,III etc. charts re halftone changes or to start the boil down.

Decision made, ..skip the VI,II,III,VII Charting, and go for assigning pedals and levers to apply changes that get Chords an variations thereof.

We will try to stick somewhat close to existing approaches and extend them a bit. We will use F69 as the I neck, Bb6 as the IV neck, and C6#2 as the V neck and expand from there. One reason is that that is where we have arrived form the above reasoning, ..the other is that E,A,B would have lots of #s and that would take up space (tough typing charts) and are more confusing to many. We will use intervals as opposed to halftone changes and/or notes. We will start with the I neck and changes, then do the IV neck and changes, Then the V neck (short form, using only changes associated with the I & IV necks), then the V neck (long form, with changes expanding the C6#2 structure as if it was a separate neck). Finaly we will treat the 13 series as if it were a separate
neck. Realize that "locks" may be applied to any and all basic necks, or even to their variations, ..or they may left unlocked and played as a tonal palette; the latter would most likely require reassignment of certain changes to suit your approach and physical build.
<pre>
THE I (F69 At fret 0) NECK AND CHANGES:
F69 b3 6-13 #3 b5 #5 b7 b7a 7
STR NC P0 P1 P2 R< 1/2P1 R> R>a L>
1 D 6-13 +b7 +b7 +b7
2 G 2-9
3 A 3 -b3 +#3
4 F R -7
5 C 5 +6-13 -b5 +#5
6 A 3 -b3 +#3
7 G 2-9
8 F R --b7 -7
9 C 5 +6-13 -b5 +#5 +++b7a
10 A 3 -b3 +#3
11 F R
12 D 6-13 +b7 +b7
13 C 5 --X -b5
14 F R
</pre>
You may notice that the standard Emmons setup E9 P3 is missing, ..we are majoring in a chord oriented approach at the moment plus again convenient chart entry is limited by chart width; This also eliminated certain combinations such as P1R< get the #5 intervals that we got via 1/2 P1. These could have been included at the expense of P0 and b7a; The choice was made in favor of P0 as it gives the I minor structure, and b7a as it gives the b7 ala E9 10 string common practice.

It would have been nice to include changes for b9 and #9 for the jazz folk. Mostly, the second octave has been ignored herein, ..for typing convenience.

By combining the above shown changes modifications, and alterations (chromatizations)the of I69 structure may be
accomplished. Certain desireable chords are there in intervals, but physically impossible to make with the assigned changes, ..I7b5/I9b5 being one. If the b5 is to be combined with the b7, you should reassign the changes to other pedals/levers.

For the moment we will ignore the effect of combining raising and lowering the same string at the same time (+2-1,-2+1, etc.) except to say that the resulting note frequencies must be corrected because of the changer mechanism's nature.

The intervals shown for the I structure allow making I6,Im6,I7,Im7,IM7,Im9,I9,IM9, all of the preceding with s4,b5, and #5 alterations, ..if changes are properly assigned. We also left out the verticle lever(s) that can further expand the I chord collection; as I use the L^ it would give a #9 on strings 2 and 7 in the I chord/neck/tuning structure.

Recall our "dance of the intervals"? And that chords may be spelled using notes included in the chord (also not included) as the root on which to base the chord name? Well, lets see what other chords might be included in the F69 tuning using each string in turn as the root, and adjacent strings as the intervals.

Here are the 4 tone chords within the I69 neck/tuning using F as the I=R.
<pre>
F69, NC, F = I
STR NC Chord
# FRET 0 DESIGNATOR
NOTES CLASSIC 4 TONE

1 D VI
2 G II
3 A III
4 F I
5 C V
6 A III m #5*
7 G II 7s2s4(3,5,)
8 F I s2
9 C V 6 s4(3, )
10 A III m 7 #5
11 F I *
12 D VI m 7
13 C V 6 s2s4(3,5,)
14 F I 6 *(3, )
</pre>
Once more, ..* = an octave note is included, ..(X,Y)= the X and Y intervals are missing from the named chord. If you see an s2 in the chord type, and you do not want it, just skip the next to the root string, ..example = M7s2 = R,2,3,5,7, ..skip the next to bottom string and find that it is a M7 chord = R,3,5,7.
Looking at strings 12,11,10,9 we see that there is a m7 chord type with a VI for a root when F is the I chord. If we were to change the I (scale key) to Bb the chord type would not change, but the "designator" would, and it would be a IIIm7 chord for the same strings/notes, ..with C as the I chord it would become a IIm7 chord.

What if we were to activate R> to get the b7 on strings 2 and 8?
<pre>
F69, R>, F=I
Str Changed Chord
# FRET 0 DESIGNATOR
NOTES CLASSIC 4 TONE

1 D#-Eb bVII
2 G II
3 A III
4 F I
5 C V
6 A III m #5*
7 G II 7s2s4(3,5,)
8 D#-Eb bVII 6 b5
9 C V m6
10 A III m 7 b5
11 F I 7
12 D VI m 7
13 C V 6 s2s4(3,5,)
14 F I 6 *(3, )
</pre>
Notice the change in chord types for the strings that involve the changed string 8.

These 4 tone charts can give chords starting on string 5 but since you may wish to change the order of the top three strings, I have left them out, ..I am sure that you can now solve these to suit your choice of string order.
<pre>
IV neck, Bb=I
STR P2 L^ P1 L> L< P1R<
BbINT
1 D 3
2 G 6-13 +b7
3 A 7 +R
4 F 5 -b5 +#5
5 C 2-9 ++3 +b3
6 A 7 +R
7 G 6-13 +b7
8 F 5 -b5 +#5
9 C 2-9 ++3 +b3
10 A 7 +R
11 F 5 -b5 +#5
12 D 3
13 C 2-9 --R +b3
14 F 5 -b5 +#5
</pre>
You may notice that P1 lowers the 2 interval to an R while the other Rs are obtained via P2; This is to allow keeping the root on string 13 when getting the b7 on the V neck via P2.

Lets look at some of the various chords available on the basic IV neck (P1P2) using each string as the root. In this chart we will show Bb as the I = Key root. You can add/change the designators to use F (key root of the I neck) as the I for the IV neck as an exorcize. Once you know the location (grouping)of the chord types available on each neck it is reasonably easy to find the designator.
<pre>
Bb6, P1P2 ACTIVATED, Bb=I:
STR Changed Chord
# FRET 0 DESIGNATOR
NOTES CLASSIC 4 TONE

1 D III
2 G VI
3 A#-Bb I
4 F V
5 D III
6 A#-Bb I *
7 G VI m 7
8 F V 6 s2s4(3,5,)
9 D III m s4 #5
10 A#-Bb I 6
11 F V 6 s4 *(3,5,)
12 D III m #5*
13 A#-Bb I *
14 F V 6 s4 *(3,5,)
</pre>
Karlis A: ..notice that strings 13,12,11 are 1,3,5; Strings 12,11,10 are 3,5,1; Strings 11,10,9 are 5,1,3; Strings 10,9,8 are 1,3,5; Strings 9,8,6 are 3,5,1; Strings 8,6,5 are 5,1,3; Strings 6,5,4 are 1,3,5; Strings 5,4,3 are 3,5,1; You now have a tuning/neck/chord with which to harmonize your top note triad inversions across (south to north) the neck (as opposed to up and down the neck); You do not lose the "up the neck" (west to east) scalar harmonies either.

Notice that one of the chord types is ms4#5, ..not too tasty, ..again skip the next to the lowest strin in the chord and get m#5, ..a bit salty but edible in the right situation.

This neck will be used as our neck that stacks the 6th chord octave upon octave. It will also be the neck that we use to get a lot of useful variations on 4 tone chords using the same root. Chords available are 6,7,M7,m6,m7,6b5,7b5,M7b5,7#5,M7#5,m7#5,m6b5,mM7, and all having the same root, allbeit the M series does not include the root in the chord (mostly).

Next, the V neck (short form); A look at the V neck as morphed from the I neck. The starting point is the I neck (F69) defined with the V (C) neck Intervals.
<pre>
V NECK, SHORT FORM, C=I:
b7 7 #5 3 b3 #3=s4
F69 P2 R< L^ L> R> -L>
STR C INT
1 D 2-9 +b3
2 G 5 +#5
3 A 6-13 +b7
4 F 4-11 -3 #3
5 C R -7
6 A 6-13 +b7
7 G 5 +#5
8 F 4-11 -3 --b3 #3
9 C R -7
10 A 6-13 +b7
11 F 4-11 -3 #3
12 D 2-9 -b9
13 C R
14 F 4-11 -3 #3
</pre>
In the assignment that we are using here, L> gives the basic V neck from the base I neck. When the change is designated -L> it means to release L>.

These V charts are called "short form" because they do not employ the common C6 neck changes, ..these use only such changes that are available via the I and IV necks, I.E. P0,P1,P2,L<,L^,L>,R<,R>; So far this is a three pedal and 5 knee lever (3X5) instrument, or a 2X5 if you leave off the uncommon P0. The "long form" of the V neck will use the Pedals and levers common to the C6#2 neck.

You will notice a b9 change on string 12 linked in with the change that makes the b7 intervals, ..it would be nice if that were not there but the change fits into the the I and IV necks, ..a compromise.

Here are the 4 tone chords available on the basic V neck, and the V7 neck.
<pre>
C, L>, C=I
STR Changed Chord
# FRET 0 DESIGNATOR
NOTES CLASSIC 4 TONE

1 D II
2 G V
3 A VI
4 E III
5 C I
6 A VI m *
7 G V 6 s2s4(3,5,)
8 E III m s4 #5
9 C I 6
10 A VI m 7
11 F IV M7
12 D II m 7
13 C I 6 s2s4(3,5,)
14 F IV 6 *(3, )
</pre>

<pre>
C7, L>P2, C=I
STR Changed Chord
# FRET 0 DESIGNATOR
NOTES CLASSIC 4 TONE

1 D II
2 G V
3 A#-Bb bVII
4 E III
5 C I
6 A#-Bb bVII s2 b5 *(3, )
7 G V m6 s4( 5,)
8 E III m b5#5
9 C I 7
10 A#-Bb bVII 6 s2 b5(3, )
11 F IV M7 s4(3, )
12 D II m 7 #5
13 A#-Bb bVII *
14 F IV 6 s4 *(3,5,)
</pre>
Once more, the order of the top strings would be better for this V structure if the 2&3 strings were reversed. This would put them in the common C6 order but with an added high A note at just the right place to give another 4 tone chord to our list starting on string 5. The chord is there anyway, just the string order is in conflict with our chord naming program. The decision re top string order will depend upon whether you are a C6, or E9 oriented picker, ..for me it will be determined by the 13th series notes.

Before moving to the V neck in "long form" we will do a bit more on the 13 series, ..this because we will only add two pedals to get a myriad of chords not otherwise available.

<pre>
THE I=F AT FRET 0: I NECK EXPANDED TO INCLUDE THE I13 SERIES:
FRET 0, F=I.
I69 IM13 I13 Im13 Im13M7 IM13s4 I13s4
STR NC P3 P3R> P3P4R> P3P4 P3P2 P3P2R>
1 D 6-13 6 6 6 6 6 6
2 G 2-9 2 2 2 2 2 2
3 A 3 3 3 -b3 -b3 +4 +4
4 F R R R R R R R
5 C 5 ++13 ++13 ++13 ++13 ++13 ++13
6 A 3 +11 +11 +11 +11 +11 +11
7 G 2-9 9 9 9 9 9 9
8 F R -7 --b7 --b7 -7 -7 --b7
9 C 5 5 5 5 5 5 5
10 A 3 3 3 -b3 -b3 +4 +4
11 F R 1 R R R R R
12 D 6 13 13 13 13 13 13
13 C 5 ##11 ##11 ##11 ##11 11 11
14 F R bb9 bb9 bb9 bb9 bb9 bb9
</pre>
Notice that the order of strings 2&3 have been changes again to put the intervals of the 13 series in order at the top.

The 13 & 14 string callouts are the intervals in the second octave to show that the 13 series wraps from the top back to the bottom (excepting strings 1 & 2). The first octave name for bb9 is R, the ##11 is 5, and the 11 is 4.

P3 gives the IM13 chord structure. This is the gateway to the 13 series on the I neck.

Adding R> changes the Middle string root to a b7. This is why we chose to get the I neck b7 by double flatting the Root (string 8)instead of raising the 5 (string 9); This approach not only eliminates many skip grips in the I neck, but opens up the whole 13 series for the I neck, ..small change, buckets of well located chords!

P4 flats the 3rds of the series to give the Im13 structure if R> is also used, or the Im13M7 structure if the R> is not activated.

P2 raises the I neck 3rds to #3s or 4ths thus enabling the I 13 series s4 structures.

The only changes added to all the above illustrated I,IV,V necks are P3 and P4. You won't believe the chords that this open up, and they are in a logical place, ..easy to remember. It also puts the music staff lines and spaces on the strings as previously described.

Because we are now dealing with two octaves we need to look at both the first octave chords (2,3,&4 tones), and the two octave chords (5,6,&7 tones. Because of space (horizontal in the posting box) the chord presentation will be limited to 4,5,6,&7 tone chords; If you want the 2&3 tone chords it should be obvious from the 4 tone chord what they would be. All sequential intervals are on sequential strings.

First lets look at the chords found in the IM13 structure, using each string in turn as the Chord key root.
<pre>
IM13 P3
STR Changed Chord
# FRET 0 DESIGNATOR
NOTES CLASSIC 4 TONE 5 TONE 6 TONE 7 TONE

1 D VI
2 G II
3 A III
4 F I
5 D VI m 11
6 A#-Bb IV M7 M13
7 G II m 7 m 9
8 E VII m 7 b5 m 7 b5b9 m 11 b5b9 m 11 b5b9
9 C V 7 9 11 13
10 A III m 7 m 7b9 m 11b9 m 11b9 b13
11 F I M7 M9 M11 M13
12 D VI m 7 m 9 m 11 m 11b13
13 A#-Bb IV M7 M9 M9#11 M13#11
14 F I

</pre>
And now the Im13 structure:
<pre>
Im13 P3P4R>
STR Changed Chord
# FRET 0 DESIGNATOR
NOTES CLASSIC 4 TONE 5 TONE 6 TONE 7 TONE

1 D VI
2 G II
3 A III
4 F I
5 D VI
6 A#-Bb IV M7
7 G II m 7 m 9
8 D#-Eb bVII M7 M9 M9#11
9 C V m 7 m 9 m 11 m 13
10 G#-Ab bIII M7 M9 M9#11 M13#11
11 F I m 7 m 9 m 11 m 13
12 D VI m 7 b5 m 7 b5b9 m 11 b5b9 m 11 b5b9 b13
13 A#-Bb IV 7 9 11 13
14 F I
</pre>
And for the Grand Finale, The I13 structure. The rest of the 13 series structures will not be shown here as enough is enough; Needless to say they are just as complete re chord generation.
<pre> I13 P3R>
STR Changed Chord
# FRET 0 DESIGNATOR
NOTES CLASSIC 4 TONE 5 TONE 6 TONE 7 TONE

1 D VI
2 G II
3 A III
4 F I
5 D VI
6 A#-Bb IV M7
7 G II m 7 m 9
8 D#-Eb bVII M7 M9 M9#11
9 C V m 7 m 9 m 11 m 13
10 A III m 7 b5 m 7 b5b9 m 11 b5b9 m 11 b5b9 b13
11 F I 7 9 11 13
12 D VI m 7 m 7b9 m 11b9 m 11b9 b13
13 A#-Bb IV M7 M9 M11 M13
14 F I
</pre>

These chord types and designators should now be checked against the chart containing the chords needed to harmonize the key scale in scalar harmony, ..remember that we needed the Im13 structure (odd intervals of the key scale) to be moved up two frets to get the IIm13 (even interval based) chords of the key scale. The I13 structure is not needed for that purpose but supplies some commonly used passing chords.

The addition of other pedals and levers in the 5X5 or 4X5 to the 13 series mix adds a number of interesting sounds, ..we have only shown the basic variations.

Next, back to the V "long form" neck/tuning and it's contribution to the mix.

A good place to start the "long form" V workup seems to be using the common 10 string C6 neck as has been used by BE, JD, BB, etc.. The setup shown is what I have as being used by Buddy Emmons at one time.
<pre>
STR
NC L< L> P4 P5 P6 P7 P8 R< R>
1 D +Eb
2 E +F
3 C ++D -B +C#
4 A -Ab +Bb ++B ++B
5 G -F#
6 E -Eb
7 C +C#
8 A ++B
9 F +F# -E
10 C ++D ---A
</pre>
Next, we will explode this "C6" neck by adding strings to get the C6 #2 tuning/neck previously shown, with the 13 top string setup.
<pre>
10 STR C6, BE, EXPANDED TO 14 STR C6#2, 13 TOP:
STR FRET 0:
NC L< L> P4 P5 P6 P7 P8 R< R>
1 D +Eb
2 G
3 A
4 E +F
5 C ++D -B +C#
6 A -Ab +Bb ++B ++B
7 G -F#
8 E -Eb
9 C +C#
10 A ++B
11 F +F# -E
12 D +C#
13 C ---A
14 F -E
</pre>
These necks may have a C6 note combination included, but they also have a number of other "tunings" that may be accessed via activating changes, ..some obvious, others not so. The next series of charts will show what 4,5,6,&7 tone chords are available for a number of activated changes and change combinations. The charts have been simplified as I weeded out most (not all) of the "strange" chord names. You are left to figure the 3 tone chord names, ..again, a horizontal room problem during input.
<pre>
C6#2, NC
TUNINGS CHART PST, 13 SERIES, F69, LOKED, C6#2 , 13 TOP
CHART FOR KEY = C =1- =I
Changed Chord
STR FRET 0 DESIGNATOR
# NOTES CLASSIC 4 TONE 5 TONE 6 TONE 7 TONE

1 D II
2 G V
3 A VI
4 E III
5 C I
6 A VI m *
7 G V 6 s2s4(3,5,)
8 E III m s4 #5
9 C I 6 6 *
10 A VI m 7 m 7 *
11 F IV M7 M9 M9b11
12 D II m 7 m 9 m 11
13 C I
14 F IV

C6#2, P5
TUNINGS CHART PST, 13 SERIES, F69, LOKED, C6#2 , 13 TOP
CHART FOR KEY = C =1- =I
Changed Chord
STR FRET 0 DESIGNATOR
# NOTES CLASSIC 4 TONE 5 TONE 6 TONE 7 TONE

1 D II
2 F#-Gb bV
3 A VI
4 E III
5 C I
6 A VI m *
7 F#-Gb bV m 7 b5
8 E III
9 C I 6 b5 6 b5 *
10 A VI m6 m6 *
11 F#-Gb bV m 7 b5 m 7 b5 *
12 D II 7 9 9b11
13 C I
14 F IV

C6#2, P6
TUNINGS CHART PST, 13 SERIES, F69, LOKED, C6#2 , 13 TOP
CHART FOR KEY = C =1- =I
Changed Chord
STR FRET 0 DESIGNATOR
# NOTES CLASSIC 4 TONE 5 TONE 6 TONE 7 TONE

1 D II
2 G V
3 A VI
4 F IV
5 C I
6 A VI m #5*
7 G V 7s2s4(3,5,)
8 D#-Eb bIII 6 b5 6 b59
9 C I m6 m6 *
10 A VI m 7 b5 m 7 b5 *
11 F IV 7 9 9b11
12 D II m 7 m 7b9 m 11b9
13 C I
14 F IV

C6#2, P7
TUNINGS CHART PST, 13 SERIES, F69, LOKED, C6#2 , 13 TOP
CHART FOR KEY = C =1- =I
Changed Chord
STR FRET 0 DESIGNATOR
# NOTES CLASSIC 4 TONE 5 TONE 6 TONE 7 TONE

1 D II
2 G V
3 A VI
4 E III
5 D II
6 B VII m 7 s4( 5,)
7 G V 6 69
8 E III m 7 m 7 *
9 C I M7 M9 M9b11 M13b11
10 A VI m 7 m 9 m 11 m 11bb13
11 F IV M7 M9 M9#11 M13#11
12 D II m 7 m 9 m 11 m 13
13 C I
14 F IV

C6#2, P8
TUNINGS CHART PST, 13 SERIES, F69, LOKED, C6#2 , 13 TOP
CHART FOR KEY = C =1- =I
Changed Chord
STR FRET 0 DESIGNATOR
# NOTES CLASSIC 4 TONE 5 TONE 6 TONE 7 TONE

1 D#-Eb bIII
2 G V
3 A VI
4 E III
5 C I
6 A VI m *
7 G V 6 s2s4(3,5,)
8 E III
9 C#-Db bII
10 A VI 7 7 *
11 E III 6 s4 *(3,5,)
12 C#-Db bII m #5*
13 A VI *
14 E III

C6#2, P5P6
TUNINGS CHART PST, 13 SERIES, F69, LOKED, C6#2 , 13 TOP
CHART FOR KEY = C =1- =I
Changed Chord
STR FRET 0 DESIGNATOR
# NOTES CLASSIC 4 TONE 5 TONE 6 TONE 7 TONE

1 D II
2 F#-Gb bV
3 A VI
4 F IV
5 C I
6 A VI m #5*
7 F#-Gb bV m M7 b5 m M7 b5#9
8 D#-Eb bIII m6 b5 m6 b59
9 C I m6 b5 m6 b5 *
10 A VI m6 b5 m6 b5 *
11 F#-Gb bV m6 b5 m6 b5 *
12 D II 7 7b9 7b9 b11
13 C I
14 F IV

C6#2, P6P7
TUNINGS CHART PST, 13 SERIES, F69, LOKED, C6#2 , 13 TOP
CHART FOR KEY = C =1- =I
Changed Chord
STR FRET 0 DESIGNATOR
# NOTES CLASSIC 4 TONE 5 TONE 6 TONE 7 TONE

1 D II
2 G V
3 A VI
4 F IV
5 D II
6 B VII m 7 b5
7 G V 7 9
8 D#-Eb bIII M7 #5 M9 #5 M9 #5#11
9 C I m M7 m M9 m M11 m M13
10 A VI m 7 b5 m 9 b5 m 11 b5 m 11 b5b13
11 F IV 7 9 9#11 13#11
12 D II m 7 m 7b9 m 11b9 m 13b9
13 C I
14 F IV

C6#2, P7P8
TUNINGS CHART PST, 13 SERIES, F69, LOKED, C6#2 , 13 TOP
CHART FOR KEY = C =1- =I
Changed Chord
STR FRET 0 DESIGNATOR
# NOTES CLASSIC 4 TONE 5 TONE 6 TONE 7 TONE

1 D#-Eb bIII
2 G V
3

Post by **Joey Ace** » 28 Jan 2003 12:04 pm

"we can continue in direct e mail if you can handle Excel spreadsheets."

If you don't have the Excel program you can download a free Excel viewer here .

C Dixon · Post by **C Dixon** » 28 Jan 2003 12:23 pm

Hi Ed, my dear friend,

I am with you all the way. Thanks for posting that very well written and detailed preamble to your charts that sadly did not work out.

You made a number of very poignant points. And it is soo true, the type of music plus the particular style of a given player; like Julian or Curly, does indeed finger-print these virtuosos when it comes to the steel guitar.

I can never move very far from the most versatile instrument (keyboard) when thinking of the myriad of tunings that have been appliccable in the evolution of the steel.

My take on this is, without realizing it many of these tunings were born as a result of NEEDING the "black" keys (Relative to the key of C). Our bretheren, the regular guitar player has available many possibilities we peddlers STILL cannot get, no matter what tuning it is (save an complete diatonic). That is; getting the same spelling while shifting a given note(s) up or down, while holding others still.

But as time has gone by, much improvment has been forthcoming in this area. As we see strings being pulled (or slackened) to notes that ALREADY exist on other strings, it is apparent what is happening.

And that is, PSG players are now trying to play (as best they can) with NO limitations to what voicings they may wish to use in a given situation. This is of course, what spawns such pedals as the PF pedal and his knee lever changes. These notes have been availabe elsewhere for years. But that is not what music calls for.

Nope, it is the resolving (while sustaining) from one spelling of a chord to any other spelling thereof. Again, the piano player is the king of this ability. Albeit, the piano cannot play unison notes.

Players like Curly and Julian, and of course Buddy, hear big band sounds in their heads as good as any sax, trombone or clarinet, etc, player out there. This of course is why incredible players were inovators in the evolution of what changes a given pedal or knee lever did.

The only other way I know of that would have been better is if the bar had an "infinite hinge" capability.

Yeah right. Dream on carl.

Luv you Ed,

carl

ed packard · Post by **ed packard** » 29 Jan 2003 7:36 am

Carl; Your email address as stated on the forum bounces back to me, ..????????

C Dixon · Post by **C Dixon** » 29 Jan 2003 8:05 am

Strange Ed, I received your email and responded to you.

I receive emals often from forumites and this seems odd. Hopefully you did get my response. If not let me know.

Luv ya man,

carl

ed packard · Post by **ed packard** » 30 Jan 2003 9:48 am

Just to let folks know that the first post is being added to by editing so that all the info/comments are in one place.

ed packard · Post by **ed packard** » 1 Feb 2003 9:16 am