I developed my copedent within the limitations of single raise and lower, because that's all I had at the time. Initially I had a Gibson EH-150 six string 4 pedal guitar that could raise and lower, BUT, the lowers were impractical so I developed a "Raise Only" copedent for that style of changer.
Open tuning was Am6th E-C-A-F#-E-C.
Pedal 1 raised the F# to G giving me C6
Pedal 2 raised the Cs to C# Giving me A6 or A7 with pedals 1+2
Pedal 3 raised the F# to G# and the A to B giving E6 with pedal 2
and pedal 4 raised the first string E to F# and the second string to D#
I effectively had E6 A6 C6 D9 A9 Emaj9 with a 6th and maj7th. A13b5th A6b5th C6b5#9
It worked for me, and at the time there was no instructional courses from the USA available in the UK so I plodded on in my blissful ignorance of other copedents or styles other than what I had in my Hawaiian collection.
When I got my Fender 1000 in 1963 it was a monumental task to retain what I had learned and extend it to encompass the unbelievable "Single raise and lower" and 8 pedals. WOW !!
I play in all the common tunings on non pedal lap or console steel with the exception of the non Hawaiian resonator related "Open" tunings. (I leave those tunings to the "Ricky Ticky acoustic players)
So with a wealth of tunings in my head, it was logical that I should follow my OWN way as opposed to the copedent in the Fender manual. Fender's recommended copedent was developed, by and for, primarily Western or Country players, whereas I needed a comprehensive tuning to encompass Hawaiian style playing AND the capability to play "Standards and Evergreens" (I think known colloquially as the "Great American Songbook")
Not using a volume pedal in the way that E9th players do, I was not limited to one foot on the pedals and consequently use up to four pedals simultaneously.
The way I play is to use the pedals to find the nearest inversion of the chord or harmony position.
For example I think of "G" being available at the 3rd fret 5th fret 7th fret 10th fret 13th fret and 15th.
NOT envisioning the scalic positions but the chord inversions.
To me any Key represents a series of "Pockets" around EACH available inversion of the given key.
i.e.
The third fret = Key of G with ALL related chords within two frets up or down.
Or, the Key of Eb with a slightly different pocket structure.
Now, this mindset also applies to my non pedal playing because I can envisage what the notes WOULD be if I used the pedals, so I don't need to spend time figuring out where the notes are placed, I know, I can SEE in my mind where they are.
Maybe I'm NOT expressing myself properly, or maybe I'm giving the wrong impresion. I'm NOT clever or different in ANY way, both my wife Pat and I have been born with music in our "heart and soul".
We hear something and invariably can relate it to our instrument and play it, practice was NEVER our forte, we just rehearsed.
Sometime, when and if we get invited to a "Stateside" convention, we may be able to demonstrate our love for music, until then all we can do is make our recordings available..
Like here :-
click here.
He's also got a copedant unlike anyone else I've seen, so it's impossible to follow. 
But just listen to the results 
