Harmonized major scales in “B position”

John Goux · From: California, USA

Here are some ways to play harmonized scales in a position that starts 5 frets above open position, with the root of the scale on the unaltered 5th string.
This position is great for major and minor pentatonic scales and melodies as well.

I having been calling this position “B position” as the root is on the B string.

B Major pentatonic.
Fret zero or 12.
Es lowered and strings 2/9 to C#
Play strings in order
3-1-4-2-5-6-7-8-9-10-11

B Minor pentatonic
Fret zero or 12
B pedal and String 2 lowered to D natural
Play strings
3-1-4-2–5-6-7-8-9-10-11

Here are harmonized scales

Playing 3rds vertically up and down strings 5 and 2,
Melody on 5, the thirds on string 2 using your D# to D lower to alternate major and minor thirds in the key of B major
Fret zero open, fret 2 lower Str 2, fret 4 lower Str 2, fret 5 no lower, fret 7 no lower etc up the scale

Playing 6ths vertically up and down strings 5 and 9
Melody on 5 and the 6ths on Str 9
Using your D to D# raise(if you have that change) on string 9 to alternate major and minor 6ths in the key of B
Fret Zero raise 9, fret 2 no lever, fret 4 no lever, fret 5 raise 9, etc up the scale

Playing 6ths vertically up and down Str 5 and Str 8 in B major
Using Str 8 lower to D# and add a forward slant with lower engaged. This forward slant is relatively easy to get in and out of, and good practice for intonation.
Melody on Str 5 and major and minor 6ths in Str 8
Str 5 keep Str 8 lowered throughout,
Fret zero play Str 5 and Str 8, fret slant 1/3, fret slant
3/4, fret 5 no slant, fret 7 no slant, fret slant 8/9, fret slant 10/11, 12 no slant
(If you have String 8 lower to D Nat you can do this with no slants)

Playing 3rds vertically up Str 10 and alternating Str 8/9 in the key of B major
Lower string 8 to D# throughout
Fret zero Str 10/8, fret 2 Str 10/9, fret 4 Str 10/9, fret 5 Str 10/8 etc up the neck.

These are alternatives to the more commonly used grips for 3rds and 6ths on strings 4/5, 3/6, 5/8, etc.

Enjoy, John

Jeffrey McFadden · From: Missouri, USA

I just copied this post into a document which I saved with my PSG study / learning docs. I love scales & alternative ways to play them. Thank you.
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Sonny Jenkins · From: Texas Masonic Retirement Center,,,Arlington Tx

Has anyone put these on charts?

John Goux · From: California, USA

This kind of harmonized scale info would be a good candidate for tab.
The written word makes it look more complicated than it is.
I’m not very tab literate, so I thought I could just pass it along in English!

The standard positions many of us E9 players use,
Open position, A/F, and AB pedals down,
will take you a long ways. I’ve been using this “B position” lately for Western Swing and blues, and it is not difficult to add another position to your use of the fingerboard. There are plenty of good notes there, 5 frets above Open, in both major and minor keys.

Using that non altered root on Strings 5 and 10 as the basis for harmonized major scale was the next logical step for me.
This could be old hat to many, but I just worked it out for myself, and thought I’d post it for players like myself, still discovering the instrument.

John

Dick Sexton · From: Greenville, Ohio

Dick Sexton · From: Greenville, Ohio

John if there are any mistakes in the tab or verbage, message me and I will make the necessary corrections.

Note: Thanks for the great info.

Jeff Garden · From: Center Sandwich, New Hampshire, USA

Thanks for taking the time to do this John and Dick.

Bryan Staddon · From: Buffalo,New York,

Thanks , I copied it too, it’s great,u
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Jeffrey McFadden · From: Missouri, USA

My default copedent as I bought my PSG will not turn strings 2 & 9 into C#. What pedal or lever does that on yours?
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John Goux · From: California, USA

Dick Sexton, thanks so much for tabbing that out. Great work. It all looks good to me.

A few additions.

I like how you showed the tab for 6ths on strings 5/9, as a slant, and I would like to also see it tabbed as a lever with the Str 9 raise as an optional pedal (I’ve seen “X” used with explanation). I know String 9 raise to D# is not in the traditional E9, but I know multiple players that have it.

The pentatonic scale examples at the top descend to String 11, that would need a 12 string tab template, which you may not have if you are a 10 string player.

I’ve since found an additional sets of 3rds and 6ths on the non altered String 5 in the key B major.
These should probably be included in this group of tabs.

These are the same notes we use on strings 5/6 starting in the A/F position at fret 10. The A/F raise at fret 10 is replaced by Fret Zero with Str 5 as the melody and Str 4 lower to D#. This set of 3rds and 6ths is the easiest to play of the bunch.

Here it is, in verbiage.

Playing 3rds in the key of B major with melody on Str 5 and 3rds on string 4. Using the Str 4 E lower and the A pedal to raise 5.

Fret zero Str 5 open Str 4 lower(E), Fret zero Str 5 (A ped) Str 4 open, Fret 2 Str 5 (A ped) Str 4, Fret 5 Str 5 Str 4(E), Fret 7 Str 5 Str 4(E), Fret 7 Str 5(A) Str 4, Fret 9 Str 5 (A) Str 4, Fret 12 Str 5 Str 4 (E).

The same pedal and fret moves apply to the 6ths on Strings 5/8, that are melody on String 5 and Str 8 as the 6ths.
This could be another tab.

As usual, the English looks more tedious than the tab will. Your ear will guide you through this as well.

Thanks everyone,
John

John Goux · From: California, USA

Jeffrey, many E9 players (but not all) have the String 2 lower a half step(D) and a whole step(C#). This is on a lever with the String 9 lower to C#.

One of the advantages is that it makes every string on the guitar a harmonious note. “Strummable” as they say.

In the key of E you can have your Maj7th, Dom7th, or Maj6th.
Key of A you can have your 4th degree or 3rd degree unison with Str 5(A).
Key of B you have Maj3rd, Minor 3rd, Maj2nd.
Key of C# you have degrees 2, b9, and unison root with Str 5(A).

These are effective when used as the “cascade effect” that is so indicative of E9 pedal steel sounds. Also great for ascending or descending 3rds.

In these tabs it only affects your first example of B major pentatonic. If you don’t have that change, simply lower your bar a half step for that one note(with muting), or play from Str 4 downward, or just skip the note in the sequence.

John

Dick Sexton · From: Greenville, Ohio

Dick Sexton · From: Greenville, Ohio

If I have missed anything or you see something that is incorrect, just let me know, I'll make the corrections.

Fred Treece · From: California, USA

Dick, you are awesome. Plus, you’re from Ohio, which makes you even awesomer.

Dick Sexton · From: Greenville, Ohio

Fred, thanks, but I'm from Texas! I winter in Ohio so I can remember just how great Texas is. Ohio=Snow, no brisket and very little Tex-Mex. Lol!

I will graciously accept awesome though. Thank you Sir! Wink

John Goux · From: California, USA

Thanks Dick!
John

Carl Mesrobian · From: Salem, Massachusetts, USA

To Dick,

Thanks for the great tab!

To Jeffrey,

John Goux · From: California, USA

I forgot about this thread. Sheeze, has it really been 2 years?
John

Ian Rae · From: Redditch, England

If you play a B6/E9 universal as I do, that B position is pivotal as if you include string 6 that's the starting point of B6 right there.
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