I need chord patterns
Moderator: Shoshanah Marohn
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Owen Woodard
- Posts: 17
- Joined: 11 Mar 2004 1:01 am
- Location: Grand Forks, North Dakota, USA
I need chord patterns
I have tuned my six string lap steel to "C6th" tuning. I would like to know the chords and patterns for this tuning. Anyone, HELP Owen
Triads:
1. Strings 2, 4 and 5 are the major root positions (root on top) for all major chords. Ex: 2nd, 7th and 9th frets picking those strings gives you a I, IV and V chord respectively.
2. If you play strings 1, 2 and 4 or 4, 5 and 6, you have the same chords with the 3rd or 5th on top respectively.
3. Strings 1, 2 and 3 are the relative minor chords to the above I, IV and V chords.
4. If you move up 5 frets from any one of these chords and do a 3 fret forward slant you get the next inversion of those relative minor chords. Ex: string 1 on fret 5, string 2 on fret 4 and string 3 on fret 3 gives you A minor with the root on top.
5. Picking strings 2, 3 and 5 or 3, 5 and 6 you get the other 2 versions of that above minor (step 3) at any fret.
6. Strings 2, 3 and 5 or 3, 5 and 6 are the other two versions of the relative minor to the minor on strings 1, 2 and 3 above.
7. A substitue "7th" chord can be obtained 2 frets down and pick strings 1, 2 and 3. Example: at the 10th fret, you have C7th.
8. Picking strings 1, 2 and 3 three frets up from a any major chord position gives you that chord's minor. Ex; 3rd fret strings 1, 2 and 3 gives you Cminor. (The inversions above work here also.)
Diads:
1. Strings 1 and 3 three frets up gives you a major chord with the fifth on top. Ex: 3rd fret you have a C major diad chord. Jerry Byrd has used this since the 30's and beautifully I might add.
2. Strings 1 and 3 forward slant with the top string up one fret gives you the IV chord (or I chord if you are at the V chord position). EX: 1st string 13th fret, 3rd string 12th fret gives you an F major with the root on top.
4. Strings 1 and 3 with a backward slant gives you the 7th chord at any major position. EX: String 1 at the 12th fret and string 3 at the 13th fret gives you a C7th diad chord.
(Note you can resolve a V7 to I chord by doing step 4 followed by step 3 above. Again Jerry Byrd uses this all the time.)
5. String 2 and 3 gives you the IV diad chord at any I chord position. Same for a I chord at any V chord position.
Split slant chords
First a split slant is a slant where the top two strings are straight and the bottom one is slanted. Use the rounded nose of the bar to achieve this:
2. Strings 1, 2 and 4 two frets down gives you a 9th chord. EX: string 1 and 2 at the 10 fret and string 4 at the 9th fret gives you C9th.
3. Strings 2, 3 and 5 two frets up (splitting) gives you the V7 chord. Ex: strings 2 and 3 at the 14th fret, string 4 at the 13th fret gives you G7th.
4. String 1, 2 and 3 (splitting) gives you the IV augmented chord 1 fret up from the I chord. Ex: string 1 and 2 at the 13th fret and string 3 at the 12th fret gives you Faug. Same for the I chord augmented at the V chord fret.
There is much more but this is a bunch to get you started. Good luck and may our precious Lord bless you in your quests,
carl
1. Strings 2, 4 and 5 are the major root positions (root on top) for all major chords. Ex: 2nd, 7th and 9th frets picking those strings gives you a I, IV and V chord respectively.
2. If you play strings 1, 2 and 4 or 4, 5 and 6, you have the same chords with the 3rd or 5th on top respectively.
3. Strings 1, 2 and 3 are the relative minor chords to the above I, IV and V chords.
4. If you move up 5 frets from any one of these chords and do a 3 fret forward slant you get the next inversion of those relative minor chords. Ex: string 1 on fret 5, string 2 on fret 4 and string 3 on fret 3 gives you A minor with the root on top.
5. Picking strings 2, 3 and 5 or 3, 5 and 6 you get the other 2 versions of that above minor (step 3) at any fret.
6. Strings 2, 3 and 5 or 3, 5 and 6 are the other two versions of the relative minor to the minor on strings 1, 2 and 3 above.
7. A substitue "7th" chord can be obtained 2 frets down and pick strings 1, 2 and 3. Example: at the 10th fret, you have C7th.
8. Picking strings 1, 2 and 3 three frets up from a any major chord position gives you that chord's minor. Ex; 3rd fret strings 1, 2 and 3 gives you Cminor. (The inversions above work here also.)
Diads:
1. Strings 1 and 3 three frets up gives you a major chord with the fifth on top. Ex: 3rd fret you have a C major diad chord. Jerry Byrd has used this since the 30's and beautifully I might add.
2. Strings 1 and 3 forward slant with the top string up one fret gives you the IV chord (or I chord if you are at the V chord position). EX: 1st string 13th fret, 3rd string 12th fret gives you an F major with the root on top.
4. Strings 1 and 3 with a backward slant gives you the 7th chord at any major position. EX: String 1 at the 12th fret and string 3 at the 13th fret gives you a C7th diad chord.
(Note you can resolve a V7 to I chord by doing step 4 followed by step 3 above. Again Jerry Byrd uses this all the time.)
5. String 2 and 3 gives you the IV diad chord at any I chord position. Same for a I chord at any V chord position.
Split slant chords
First a split slant is a slant where the top two strings are straight and the bottom one is slanted. Use the rounded nose of the bar to achieve this:
2. Strings 1, 2 and 4 two frets down gives you a 9th chord. EX: string 1 and 2 at the 10 fret and string 4 at the 9th fret gives you C9th.
3. Strings 2, 3 and 5 two frets up (splitting) gives you the V7 chord. Ex: strings 2 and 3 at the 14th fret, string 4 at the 13th fret gives you G7th.
4. String 1, 2 and 3 (splitting) gives you the IV augmented chord 1 fret up from the I chord. Ex: string 1 and 2 at the 13th fret and string 3 at the 12th fret gives you Faug. Same for the I chord augmented at the V chord fret.
There is much more but this is a bunch to get you started. Good luck and may our precious Lord bless you in your quests,
carl
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Owen Woodard
- Posts: 17
- Joined: 11 Mar 2004 1:01 am
- Location: Grand Forks, North Dakota, USA
Carl, thanks a million. This will be a big help in the future. Right now I am looking for chord paterns i.e. C.F.G., E.A.D and so on so that I can play along with songs played on a C.D. By the way, you are my kind of person an I have a poem I would like to share with you. It is called "AT WATERS EDGE" As I walked along the waters edge and looked out across the sea. I had a feeling I was not alone, someone was there with me. Someone I could not touch or feel, someone I could not see. And a gentle voice was calling, Please come walk with me. 2. The sky was ablaze as the setting sun slipped slowly out of sight. Saying farewell to the golden day but brining a new twilight. A million stars danced in the sky as the moon cast shadows across the sea. And still the voice was calling, Please come walk with me. 3. The night was still, the sea was calm as I stood there on the shore. And I wondered what it would be like if I could open heavens door. Not too wide but just enough so that I might see. For now I know the voice thats calling, Please come walk with me. 4. There at the waters edge I slipped slowly to my knees. With open heart and folded hands, I would answer the voice that calls to me. I cast my eyes up to the heavens there was a wetness on my brow as I answered, Yes, I'll walk with you, Please come teach me how, Owen Enjoy
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Ray Minich
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Carl, a question from a C6th novice... (I'm about to convert one of my Dekley S-10s to C6th to enter into that mystical world).
Can an experienced C6th musician tell when the artist is playing on the C6th deck from when the artist is playing on the E9th deck?
I've found it frustrating to try to follow some recorded solos (on my E9th deck) only to find later the musician was on the C6th deck.
Can you tell the difference by ear?
(BTW Thanks for the great material above, will help me a bunch at getting started)<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Ray Minich on 24 May 2004 at 11:14 AM.]</p></FONT>
Can an experienced C6th musician tell when the artist is playing on the C6th deck from when the artist is playing on the E9th deck?
I've found it frustrating to try to follow some recorded solos (on my E9th deck) only to find later the musician was on the C6th deck.
Can you tell the difference by ear?
(BTW Thanks for the great material above, will help me a bunch at getting started)<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Ray Minich on 24 May 2004 at 11:14 AM.]</p></FONT>
Yes Ray,
Generally I can. Having come up through the ranks from the no pedal era playing multi necks steels trains one's ear to hear things that may not be evident to those who haven't.
Here is something insteresting that may shed more light on the subject. The three most popular tunings for lap steel are:
1. A6
2. E13th
3. C6
With the exception of certain chords (grips) on E13th, all of these tunings are essentially the same. Yet they do NOT sound like it. I can hear A6th almost immediately. C6 also. And generally there is no question about E13th.
So while almost anything can be played on any of the three, the timbre of each tuning is such that it is usually (for many) evident which tuning was used.
Sometimes a pro can get soooooooo good that he can fool even the most learned ear. But for most of the time, an experienced player on multiple tunings can tell.
You will too, once your ears become acclimated to the nuances/timbres of a given base tuning.
Owen, I am humbled. Thank you.
Also, I am not sure I understand what you want. Do you just want to know where the major chords are for the most popular keys? Or are you looking for progressions you can use to get from one chord to another in a given key? Or both?
carl
Generally I can. Having come up through the ranks from the no pedal era playing multi necks steels trains one's ear to hear things that may not be evident to those who haven't.
Here is something insteresting that may shed more light on the subject. The three most popular tunings for lap steel are:
1. A6
2. E13th
3. C6
With the exception of certain chords (grips) on E13th, all of these tunings are essentially the same. Yet they do NOT sound like it. I can hear A6th almost immediately. C6 also. And generally there is no question about E13th.
So while almost anything can be played on any of the three, the timbre of each tuning is such that it is usually (for many) evident which tuning was used.
Sometimes a pro can get soooooooo good that he can fool even the most learned ear. But for most of the time, an experienced player on multiple tunings can tell.
You will too, once your ears become acclimated to the nuances/timbres of a given base tuning.
Owen, I am humbled. Thank you.
Also, I am not sure I understand what you want. Do you just want to know where the major chords are for the most popular keys? Or are you looking for progressions you can use to get from one chord to another in a given key? Or both?
carl
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Ray Minich
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Owen Woodard
- Posts: 17
- Joined: 11 Mar 2004 1:01 am
- Location: Grand Forks, North Dakota, USA
Carl, This is getting to be quite a drawn out afair. All I want to do right now is to be able to place the steel on a fret and play a chord by strumming the strings. Maybe this is impossible, I don't know. Like I said, I am just getting started and don't understand all the terminology of the music world. I am 74 years old and maybe too old to start something new but, I enjoy music and want to be a part of the music world. Owen
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Tim Whitlock
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- Location: Colorado, USA
Owen - I think I see where you're coming from. In answer to your question, the C chord is found by strumming the open strings, or also if you place the bar on the 12th fret. F is at the 5th fret and G is at the 7th fret. E is at the 4th fret, A is at the 9th fret and D is at the 2nd fret (also the 14th fret).
Starting with the open position, here's the whole neck: open-C, 1st fret C#(also called Db), 2nd fret D, 3rd fret D#(Eb), 4th fret E, 5th fret F, 6th fret F#(Gb), 7th fret G, 8th fret G#(Ab), 9th fret A, 10th fret A#(Bb), 11th fret B, 12th fret C. Beyond the 12th fret you just start over and repeat the same sequence on up the neck.
This gives you reference points for playing some simple country tunes. Later you will find Carl's information valuable for refining your knowledge of the fretboard. Enjoy your steel guitar! [edited for typos]<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Tim Whitlock on 25 May 2004 at 09:03 AM.]</p></FONT>
Starting with the open position, here's the whole neck: open-C, 1st fret C#(also called Db), 2nd fret D, 3rd fret D#(Eb), 4th fret E, 5th fret F, 6th fret F#(Gb), 7th fret G, 8th fret G#(Ab), 9th fret A, 10th fret A#(Bb), 11th fret B, 12th fret C. Beyond the 12th fret you just start over and repeat the same sequence on up the neck.
This gives you reference points for playing some simple country tunes. Later you will find Carl's information valuable for refining your knowledge of the fretboard. Enjoy your steel guitar! [edited for typos]<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Tim Whitlock on 25 May 2004 at 09:03 AM.]</p></FONT>
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Bobby Bowman
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Fred Justice
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Harry Williams
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Carl:
If one was to judge the popularity of a lap-steel tuning by the amount of written music for it, I think C6 would win hands down. I've been logging in regularily to this forum for a couple years and, while I've seen the occasional thing in E6 (Roy Thomson) and Open D, the majority has been 6 string C6. Scotty also has an instruction book for C6. I might add that the musical contributions on the forum of Andy Volk, Denny Turner, and others has helped me learn this tuning - thanks guys!
Harry
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If one was to judge the popularity of a lap-steel tuning by the amount of written music for it, I think C6 would win hands down. I've been logging in regularily to this forum for a couple years and, while I've seen the occasional thing in E6 (Roy Thomson) and Open D, the majority has been 6 string C6. Scotty also has an instruction book for C6. I might add that the musical contributions on the forum of Andy Volk, Denny Turner, and others has helped me learn this tuning - thanks guys!
Harry
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Blake Hawkins
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Tim Whitlock
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Blake you are so right! Carl, has provided the perfect summary of the basics of the C6 tuning. Carl, with your permission, I'm going to print this out and use it as the basis for informal beginner lessons (non-published of course). People sometimes ask me if I would help them get started (sometimes even after they hear me play!?).
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Harry Williams
- Posts: 175
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- Location: Duncan, Vancouver Island, BC, Canada
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I just went through all of Carls's chord patterns (his first posting) - it's a great starting point of what you can do on C6. I used to play in open E, but now mostly C6 because its AMAZING how many more doors open, so to speak, by adding that 6 note (open A, 3rd string). Example:
"String 2 and 3 gives you the IV diad chord at any I chord position"
I played with a rock band Saturday night at the Lasqueti Island Community Hall (how many of you know where that is??) In open E tuning I'd have to slide up 5 frets to get a decent IV chord, which is OK, but it's nice to have more choices. In C6, it's right there in your I chord position, which came in handy MANY times on the weekend. Further to that if, if you add the 1st string as well, it gives you a IV maj7 without the root. Ex. open strings 1, 2, 3, (A, C and E notes - 7th note on E).
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"String 2 and 3 gives you the IV diad chord at any I chord position"
I played with a rock band Saturday night at the Lasqueti Island Community Hall (how many of you know where that is??) In open E tuning I'd have to slide up 5 frets to get a decent IV chord, which is OK, but it's nice to have more choices. In C6, it's right there in your I chord position, which came in handy MANY times on the weekend. Further to that if, if you add the 1st string as well, it gives you a IV maj7 without the root. Ex. open strings 1, 2, 3, (A, C and E notes - 7th note on E).
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Tim,
You have it with my sincere blessings. Our precious Lord has blessed each of us with blessings unfathonable. Although those blessings vary widely and diversely.
He also said, "To whom much is given, much shall be required".
And as long as there is a breath in my body, I will try to follow those words,
carl
You have it with my sincere blessings. Our precious Lord has blessed each of us with blessings unfathonable. Although those blessings vary widely and diversely.
He also said, "To whom much is given, much shall be required".
And as long as there is a breath in my body, I will try to follow those words,
carl
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John Bresler
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Owen Woodard
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John Bresler
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Owen:
All of Jeff's courses are available from his web site: www.jeffran.com
He also has other audio and video stuff available. Anything you get from Jeff is outstanding, but the "Up from the Top" series starts by explaining chord theory and he has you playing licks with him and backing up a singer. You won't be disappointed.
You can find a variety of other stuff by going to "Links" at the top of this page.
All of Jeff's courses are available from his web site: www.jeffran.com
He also has other audio and video stuff available. Anything you get from Jeff is outstanding, but the "Up from the Top" series starts by explaining chord theory and he has you playing licks with him and backing up a singer. You won't be disappointed.
You can find a variety of other stuff by going to "Links" at the top of this page.
Moved to "No Peddlers" section of the Forum.
As far as I know, all of Jeff Newman's course are for pedal steel, not lap. Someone can correct me if I'm worng.
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<img align=left src="http://picturehost.net/b0b/ManzBob2.jpg" border="0"><small> Bobby Lee</small>
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As far as I know, all of Jeff Newman's course are for pedal steel, not lap. Someone can correct me if I'm worng.
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<img align=left src="http://picturehost.net/b0b/ManzBob2.jpg" border="0"><small> Bobby Lee</small>
-b0b- <small> quasar@b0b.com </small>
System Administrator