The Steel Guitar Forum

Last week in Lesson #4 we substituted a Gm7 Scale pattern over a C7 Chord to get C Dominant 7th sounds. This week we will substitute a Dm7 scale over a G7 chord to get G Dominant 7th sounds. (The 5th of G = D → G7 Chord = Dm7 Scale) Please refer to Lesson #2 for the 4 Note Dm7 Scale Pattern. This week’s lesson will focus on the Dm7 scale notes available on and around the 7th fret – the home fret of the key of G. Once again, we will use a Minor 7th scale to get Dominant 7th sounds.

We also can add extra notes to a Dominant 7th chord to get jazz sounds. By superimposing these notes in third intervals above the 7th chord we can create Dominant 9th, 11th & 13th chords. We can name these extended intervals by adding 7 (one octave) to the original chord tone: 2 + 7 = 9, 4 + 7 = 11, 6 + 7 = 13. The 1, 3, & 5 scale tones are not extended because they determine if the chord is major, minor, augmented or diminished:

G7 Chord::::G-B-D- F- A- C - E
Intervals:::::1-3-5- b7-9-11-13

Let’s look at the extended intervals we can derive from substituting a Dm7 scale over a G7 chord:

Dm7 Scale::::: D - E - F - G - A - B - C - D
G Scale Tones: 5 - 6 - b7- 1 - 2 - 3 - 4 - 5
Extended:::::: 5 -13- b7- 1 – 9 - 3–11- 5
Interval

We can see how a Dm7 scale substituted over G7 will work over a G7, G9 & G13. All these Dominant 7th chords can be used as a V chord resolving back to the I chord. (We will study the 4th & 11th intervals as #4’s and #11’s in future lessons)

The first diagram shows a few G7, G9 & G13 chord voicings – {using standard C-6th pedals with the knee lever that lowers 3rd string C to B} as indicated at bottom of the first diagram.
The second diagram is {C-6th strings 5-4-3 w/ knee lever lowering 3rd string C to B} and shows the notes of the Dm7 scale - with their extended intervals - available on and around the 7th fret – the home fret of the key of G:



Now, over a G7 chord, let’s play the Dm7 scale notes available to us on and around the 7th fret – the home fret of G. We will use our 4 Note Scale pattern from the 4th to the 10th fret and back:

(C-6th w/ knee lever lowering 3rd string C to B)


Try playing both this scale pattern and the 4 Note Dm7 Scale pattern from Lesson #2 over G7, G9, G13.

We now have learned our 4 Note Scale Pattern in C, C7, F7, Dm7 & G7. Try woodshedding these scale patterns over a Dm7-G7-IM7 (IIm-V-I) progression and over a basic blues progression:

C / F7 / C / C7
F / F / C / C/
Dm7/G7/C/G7

Next Week: Visualizing Scale Patterns on the Fretboard

Thanks Robert for your work in putting up this lesson series.

Thank you Robert. I'm looking forward for your next lessons.

Thomas

Thanks Robert
I'm using your lessons in my C6 studies
Rick

Thanx a bunch for all these C6 lessons Robert
you've spent quite a lot of time & effort puttin' all this together

GREAT THANKS, ROBERT, For all ..
best wishes,
bernard

Robert,Thanks for you time and generosity to post these,really awesome stuff

Thanks Robert,
I just printed out all five lessons.
It is totally different way to play scales than what I normally use. Good stuff!

Subscribed. Thanks Robert.

Bumping for those who have not seen Robert's work. steve t

Just saw this!!! Where can I find/see the previous lessons????

http://bb.steelguitarforum.com/viewtopic.php?t=172742

Lesson 1

This is the first week in a series of lessons on basic C-6th scale patterns. These lessons will show how to organize scale tones into patterns and how to alter these scale patterns to get jazz sounds. The tuning is C-6th with a D on top. The scale patterns will be played on strings 5, 4 & 3 with the knee lever that lowers the 3rd string C to B. (Please note most the scale patterns used these lessons can be played on strings 8, 7, & 6 of the E-9th tuning - no pedals or knee levers)

Lesson One: With our 3rd string C lowered to B, let’s look at the notes of a C Major Scale on strings 5, 4 & 3.

The first fretboard diagram shows the notes of the C Major Scale: C D E F G A B C
The second diagram fills in the all notes of the C Major Scale from the 5th to the 13th fret.

(C-6th w/ knee lever lowering 3rd string C to B)


Now let’s play a C Major Scale over a C Major Seventh Chord in a 4 note pattern up and down the fretboard.

(C-6th w/ knee lever lowering 3rd string C to B)


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Lesson 2

Now let’s look at the D Minor 7th Scale. (C-6th strings 5-4-3 w/ knee lever lowering 3rd string C to B)

The first fretboard diagram shows the notes of the D Minor 7th Scale: D E F G A B C D
The second diagram fills in all the notes of the D Minor 7th Scale from the 7th to the 15th fret.

(C-6th w/ 3rd string C lowered to B)


Now let’s play a D Minor 7th Scale over a D Minor 7th Chord in a four note scale pattern up and down the fretboard.

(C-6th w/ 3rd string C lowered to B)

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Lesson 3

We can also play a Minor 7th Scale over a Dominant 7th Chord and get Dominant 7th Chord sounds. We can do this by taking the 5th scale tone of the Dominant 7th Chord and making the 5th the root of the Minor 7th Scale. For example: F7 Chord = Cm7 Scale. (C is the 5th of F) By substituting a C Minor 7th Scale over an F Dominant 7th Chord we get the following scale tones in the key of F:

Cm7 Scale:::: C - D - Eb - F - G - A - Bb - C
F Scale Tones: 5 - 6 - b7 - 1 - 2 - 3 - 4 -- 5

All these notes convey the sound of an F Dominant 7th chord. (Dominant 7th / Mixolydian Scale = 1-2-3-4-5-6-b7-1)

The first fretboard diagram shows all the notes of the C Minor 7th Scale from the 5th to the 13th fret. (C-6th strings 5-4-3 w/ knee lever lowering 3rd string C to B)
The second diagram indicates the scale tones of these Cm7 Scale notes transposed in the Key of F:

(C-6th w/ knee lever lowering 3rd string C to B)


Now let’s play a C Minor 7th Scale over an F Dominant 7th Chord in a four note scale pattern up and down the fretboard:

(C-6th w/ knee lever lowering 3rd string C to B)


Summary: To play a Minor 7th Scale over a Dominant 7th Chord, take the 5th scale tone of the Dominant 7th Chord and make the 5th the root of the Minor 7th Scale. Example: C7 = Gm7 scale, F7 = Cm7 scale, G7 = Dm7 scale. The Minor 7th scale pattern we are using is easy to locate on the C-6th fretboard because it starts on the home fret of the Dominant 7th chord: Key of C = 12th fret, Key of F = 5th fret, Key of G = 7th fret.

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Lesson 4
This week we will substitute a Gm7 Scale over a C7 Chord. (The 5th of C = G :: C7 = Gm7)

Gm7 Scale:::: G - A - Bb - C - D - E - F - G
C Scale Tones: 5 - 6 - b7 - 1 - 2 - 3 - 4 - 5

All these notes convey the sound of a C7 chord. (Dominant 7th / Mixolydian Scale = 1-2-3-4-5-6-b7-1)

Throughout these lessons we will focus our scale pattern study on a one octave / 9 fret area of our C-6th fretboard. However, the notes in these scale patterns are available over the entire length of the fretboard. We can illustrate this by playing the notes of Gm7 Scale from the 0 to the 13th fret (stopping at the C on the 13th fret)

The first fretboard diagram shows all the notes of the G Minor 7th Scale from the 0 to the 13th fret. (C-6th strings 5-4-3 w/ knee lever lowering 3rd string C to B)
The second diagram indicates the scale tones of these Gm7 Scale notes transposed in the Key of C:

(C-6th w/ knee lever lowering 3rd string C to B)



Now let’s play the notes of a Gm7 Scale over a C7 Chord in a four note scale pattern from the 0 to the 13th fret and back.

(C-6th w/ knee lever lowering 3rd string C to B)


Once again the Gm7 over C7 substitution is easy to locate because it's starts on the home fret of the key of C (0 or 12th fret)

Lesson 5

This week we will substitute a Dm7 scale over a G7 chord to get G Dominant 7th sounds. (The 5th of G = D → G7 Chord = Dm7 Scale) Please refer to Lesson #2 for the 4 Note Dm7 Scale Pattern. This week’s lesson will focus on the Dm7 scale notes available on and around the 7th fret – the home fret of the key of G. Once again, we will use a Minor 7th scale to get Dominant 7th sounds.

We also can add extra notes to a Dominant 7th chord to get jazz sounds. By superimposing these notes in third intervals above the 7th chord we can create Dominant 9th, 11th & 13th chords. We can name these extended intervals by adding 7 (one octave) to the original chord tone: 2 + 7 = 9, 4 + 7 = 11, 6 + 7 = 13. The 1, 3, & 5 scale tones are not extended because they determine if the chord is major, minor, augmented or diminished:

G7 Chord::::G-B-D- F- A- C - E
Intervals:::::1-3-5- b7-9-11-13

Let’s look at the extended intervals we can derive from substituting a Dm7 scale over a G7 chord:

Dm7 Scale::::: D - E - F - G - A - B - C - D
G Scale Tones: 5 - 6 - b7- 1 - 2 - 3 - 4 - 5
Extended:::::: 5 -13- b7- 1 – 9 - 3–11- 5
Interval

We can see how a Dm7 scale substituted over G7 will work over a G7, G9 & G13. All these Dominant 7th chords can be used as a V chord resolving back to the I chord. (We will study the 4th & 11th intervals as #4’s and #11’s in future lessons)

The first diagram shows a few G7, G9 & G13 chord voicings – {using standard C-6th pedals with the knee lever that lowers 3rd string C to B} as indicated at bottom of the first diagram.
The second diagram is {C-6th strings 5-4-3 w/ knee lever lowering 3rd string C to B} and shows the notes of the Dm7 scale - with their extended intervals - available on and around the 7th fret – the home fret of the key of G:



Now, over a G7 chord, let’s play the Dm7 scale notes available to us on and around the 7th fret – the home fret of G. We will use our 4 Note Scale pattern from the 4th to the 10th fret and back:

(C-6th w/ knee lever lowering 3rd string C to B)


Try playing both this scale pattern and the 4 Note Dm7 Scale pattern from Lesson #2 over G7, G9, G13.

We now have learned our 4 Note Scale Pattern in C, C7, F7, Dm7 & G7. Try woodshedding these scale patterns over a Dm7-G7-IM7 (IIm-V-I) progression and over a basic blues progression:

C / F7 / C / C7
F / F / C / C/
Dm7/G7/C/G7

Lesson 6

In the first 5 Lessons we have been using a 4 - Note Scale Pattern over strings 5, 4 & 3 with the 3rd string C lowered to B. This 4 - Note Pattern best illustrates the Major 7th, Minor 7th & Dominant 7th scale tones available on these strings. It is important to woodshed these scale patterns until you can visualize them on your fretboard - and be able to visualize and run these patterns even when you are away from your guitar. This holds true for any other melodies, scales, chords and saxophone, piano or steel guitar lines you might be studying. So for this week’s lesson we are going to stop and look at the fretboard patterns we have created in the first 5 lessons:

First diagram: CM7 Scale over CM7 Chord (Lesson #1)
Second diagram: Dm7 Scale over Dm7, G7, G9, G13 Chords. (Lessons #2 and #5)

(C-6th w/ knee lever lowering 3rd string C to B)


First diagram: Cm7 Scale over F7 Chord (Lesson #3)
Second diagram: Gm7 Scale tones over C7 Chord 0 to 13 Fret (Lesson #4)

(C-6th w/ knee lever lowering 3rd string C to B)


First diagram: CM7 Scale tones from 0 to 17th Fret (over CM7 Chord)
Second diagram: Gm7 Scale tones from 0 to 17th Fret (over Gm7, C7, C9, C13 Chords)

(C-6th w/ knee lever lowering 3rd string C to B)


A scale pattern can be defined as a short melody or sequence of intervals that you play off of each successive tone of the scale, both ascending and descending. We will be studying many more scale patterns and it’s important to have them down before we start altering these scales and transposing these patterns to get jazz sounds.

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Lesson #7:

Last week in Lesson #6 we stopped and looked at the fretboard patterns we had created in the first 5 Lessons. The fretboard diagrams in Lesson #6 are a good reference point for these basic C-6th scale pattern lessons. Now we will start compiling our scale pattern book by adding a 3 Note Scale Pattern. Let's begin with a CM7 Scale in a 3 Note Scale Pattern over a CM7 Chord from the 5th to the 13th fret. (C-6th strings 5-4-3 w/ knee lever lowering 3rd string C to B)

(C-6th w/ knee lever lowering 3rd string C to B)


Most of the patterns in these lessons can be played on strings 8-7-6 of the E9th neck w/ no pedals or knee levers. Here is a quick example of a CM7 Scale in a 3 Note Pattern over a CM7 Chord on the E-9th neck from the 7th to the 16th fret:

(E-9th w/ no pedals, no knee levers)

Lesson 8

This week we will add a 3 Note Pattern for both Dm7 and Gm7 scales. Here is a Dm7 Scale in a 3 Note Pattern from the 7th to the 15th fret. The Dm7 scale works over a G7, G9, G13, & Dm7 Chords. (See Lesson #5)

(C-6th w/ knee lever lowering 3rd string C to B)


Here is a Gm7 Scale in a 3 Note Pattern - this time from the 12th to the 20th fret. It’s easy to sight along the 5-4-3 string pattern we are studying and this makes these scale patterns useful for work above the 12 fret. The Gm7th Scale pattern works over a C7, C9, C13 & Gm7 Chords.

(C-6th w/ knee lever lowering 3rd string C to B)


Lesson 9

Two readers have e-mailed commenting on the fact the first 8 lessons have been using a forward scale pattern when ascending up the fretboard while using a reverse pattern when descending down the fretboard – two different scale patterns for one scale. (Forward up - Reverse down) I have done this because it is the easiest way to play over these patterns in the scope of these basic scale pattern lessons.

For example: in Lesson #1 we used a CM7 scale > picked in a 4 Note forward pattern > ascending up the fretboard - but used a CM7 scale > picked in a 4 Note reverse pattern > descending down the fretboard. If we had used the CM7 scale > picked in a forward pattern > descending down the fretboard - we would have had to jump backwards 4 frets - 5 times!

Even though these patterns are tougher to play, it is still important to include them in our scale pattern book. Lessons #9 & #10 will add these patterns to our book.

Let’s start with our 3 Note Scale Pattern:
The first diagram is CM7 scale > picked in a 3 Note reverse pattern > ascending up the fretboard. The second diagram is CM7 scale > picked in a 3 Note forward pattern > descending down the fretboard. (Add to Lesson Seven)

(C-6th w/ knee lever lowering 3rd string C to B)

Lesson 9 :

The first diagram is Dm7 Scale picked in a 3 Note reverse pattern > ascending up the fretboard. The second diagram is Dm7 Scale picked in a 3 Note forward pattern > descending down the fretboard. (Add to Lesson Eight)

(C-6th w/ knee lever lowering 3rd string C to B)


(Hopefully, after playing back these patterns along with Lessons Seven & Eight - the text will make more sense)

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Lesson 10 :

The first diagram is a CM7 Scale > picked in a 4 Note Reverse Pattern > ascending up the fretboard. [Tough]
The second diagram is a CM7 Scale > picked in a 4 Note Forward Pattern > descending down the fretboard. [Tougher] Add to Lesson #1

(C-6th w/ knee lever lowering 3rd string C to B)


The first diagram is a Dm7 Scale > picked in a 4 Note Reverse Pattern > ascending up the fretboard.
The second diagram is a Dm7 Scale > picked in a 4 Note Forward Pattern > descending down the fretboard. (Add to Lesson #2)

C-6th w/ knee lever lowering 3rd string C to B)



Tip of the Week: “”Target Tones” There is a technique called “Playing Across Bar Lines” in which you train yourself to always be thinking ahead – thinking about and looking at the next measure of music while playing the current one. We can adapt this discipline to our scale pattern lessons using a technique called “Target Tones.”

In a 4 Note Scale Pattern the scales are grouped in 4 Note Patterns. We “target” the first tone in every 4 Note group and, while we are playing the remaining three tones, we are “targeting” (looking at and thinking about) the first tone (the “Target Tone”) of the next 4 Note group. So the first tone in every 4-Note group is targeted and the remaining 3 tones are “automatic.” Our example we will be the CM7 – 4 Note Scale Patterns:

The first “Target Tone” diagram is a CM7 Scale > picked in a 4 Note Reverse Pattern > ascending up the fretboard. The second “Target Tone” diagram is a CM7 Scale > picked in a 4 Note Forward Pattern > descending down the fretboard.

(C-6th w/ knee lever lowering 3rd string C to B)


This technique develops accuracy, intonation and speed helps us manage the “fret jumps” in some of our scale patterns.
Tip of the Week: Trouble Spots. When I run into a part of a scale pattern I can’t cut, I create my own exercise focusing just on the Trouble Spot. After I've nailed the exercise and the scale pattern, I find I’ve increased my chops across the board.


Lesson 11 :

CM7 and Dm7 Scales in Thirds> Ascending and Descending > picked in a Forward Pattern.

Please note: These patterns will be off and on the knee lever that lowers the 3rd string C to B.
NP = No Pedals - No Knee Levers.
KL = Knee Lever lowering 3rd string C to B as indicated at bottom of diagram.

First diagram: CM7 Scale > Ascending Thirds > picked in a Forward Pattern.
Second diagram: CM7 Scale > Descending Thirds > picked in a Forward Pattern. (Play over CM7 Chord)

(C-6th – Pedals & Knee Levers indicated at bottom of diagram.
NP = No Pedals - No Knee Levers. KL = Knee Lever lowering 3rd string C to B)


First diagram: Dm7 Scale > Ascending Thirds > picked in a Forward Pattern.
Second diagram: Dm7 Scale > Descending Thirds > picked in a Forward Pattern. (Play over Dm7, G7, G9, G13 Chords)

(C-6th – Pedals & Knee Levers indicated at bottom of diagram.
NP = No Pedals - No Knee Levers. KL = Knee Lever lowering 3rd string C to B)


Here is an easy way to jazz up these Thirds:

First diagram: CM7 Ascending Scale Pattern based on Thirds.
Second diagram: Dm7 Ascending Scale Pattern based on Thirds.

(C-6th – Pedals & Knee Levers indicated at bottom of diagram.
NP = No Pedals - No Knee Levers. KL = Knee Lever lowering 3rd string C to B)


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Lesson 12 :

Please note: These patterns will be off and on the knee lever that lowers the 3rd string C to B.
NP = No Pedals - No Knee Levers.
KL = Knee Lever lowering 3rd string C to B as indicated at bottom of diagram.

First diagram: CM7 Scale > Ascending Thirds > picked in a Reverse Pattern.
Second diagram: CM7 Scale > Descending Thirds > picked in a Reverse Pattern. (Play over CM7 Chord)

(C-6th – Pedals & Knee Levers indicated at bottom of diagram.
NP = No Pedals - No Knee Levers. KL = Knee Lever lowering 3rd string C to B)



First diagram: Dm7 Scale > Ascending Thirds > picked in a Reverse Pattern.
Second diagram: Dm7 Scale > Descending Thirds > picked in a Reverse Pattern. (Play over Dm7, G7, G9, G13 Chords)

(C-6th – Pedals & Knee Levers indicated at bottom of diagram.
NP = No Pedals - No Knee Levers. KL = Knee Lever lowering 3rd string C to B)


Here is another way to jazz up these Thirds – this time descending down the scale:

First diagram: CM7 Descending Scale Pattern based on Thirds.
Second diagram: Dm7 Descending Scale Pattern based on Thirds.

(C-6th – Pedals & Knee Levers indicated at bottom of diagram.
NP = No Pedals - No Knee Levers. KL = Knee Lever lowering 3rd string C to B)


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Lesson 13

Last week in Lesson #12 we added CM7 and Dm7 Scales in Thirds > > picked in a Reverse Pattern > Ascending up the fretboard - to our scale book. This week will play Thirds by alternating Forward and Reverse Patterns > Ascending up the fretboard.

Please note: These patterns will be off and on the knee lever that lowers the 3rd string C to B.
NP = No Pedals - No Knee Levers.
KL = Knee Lever lowering 3rd string C to B as indicated at bottom of diagram.

First diagram: CM7 Scale in Thirds > picked in Alternating Forward & Reverse Pattern > Ascending up the fretboard.
Second diagram: CM7 Scale in Thirds > picked in Alternating Forward & Reverse Pattern > Descending down the fretboard.

(C-6th – Pedals & Knee Levers indicated at bottom of diagram.


First diagram: Dm7 Scale in Thirds > picked in Alternating Forward & Reverse Pattern > Ascending up the fretboard.
Second diagram: Dm7 Scale in Thirds > picked in Alternating Forward & Reverse Pattern > Descending down the fretboard.

(C-6th – Pedals & Knee Levers indicated at bottom of diagram.


Here is another way to jazz up these Thirds – this time picked in Reverse Pattern up the fretboard.

First diagram: CM7 Ascending Scale Pattern based on Thirds.
Second diagram: Dm7 Ascending Scale Pattern based on Thirds.

(C-6th – Pedals & Knee Levers indicated at bottom of diagram.


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Lesson 14

ce cours consiste a jouer des gammes s: 2 cordes sans leviers, ni pédales

Sometimes there’s no time to use pedals or knee levers. This week’s lesson is on playing scales on just two strings with no pedals or knee levers.

The notes of the major scale are available on strings 5-4 - up and down the fretboard.

First diagram: CM7 Scale on strings 5-4 > picked in a 3 Note Pattern > Ascending up the fretboard.
Second diagram: CM7 Scale on strings 5-4 > picked in a 3 Note Pattern > Descending down the fretboard.

Play over CM7 Chord:

(C-6th – No Pedals - No Knee Levers)


Next is the Dm7th Scale > 7th to 17th fret.

First diagram: Dm7 Scale on strings 5-4 > picked in a 3 Note Pattern > Ascending up the fretboard.
Second diagram: Dm7 Scale on strings 5-4 > picked in a 3 Note Pattern > Descending down the fretboard.

Play over Dm7 & G7 Chord:

(C-6th – No Pedals - No Knee Levers)


Here is a pattern using the notes of the Gm7 scale from the 5th string G at the 0 fret up to the 4th string Bb at the 13th fret. This pattern sounds the notes of a C7 Chord.

First diagram: Notes of a Gm7 Scale on strings 5-4 > picked in a 3 Note Pattern > 0 to 13th fret.
Second diagram: Notes of a Gm7 Scale on stings 5-4 > picked in a 3 Note Pattern > 13th to 0 fret.

Play over C7 Chord:

(C-6th – No Pedals - No Knee Levers)


Tip of the Week: These same patterns are available on strings 4-3 with the knee lever that lowers the 3rd string C to B. The CM7 scale would start on the 3rd fret, the Dm7 Scale on the 5th fret and the Gm7 Scale on the 0 or 12th fret. Keep in mind you don’t have to start a scale on the root of the scale. You can start and end on any note of the scale. The only rule is that it sounds good. We will studying how to resolve scale runs when we begin applying these basic scale patterns to the IIm – V7 – I progression.

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Lesson # 15 :

This week we will introduce chromatic sounds to our scale patterns by adding the tones outside the major scale to these scale patterns. Chromaticism can be defined as: “interspersing scales tones with non-scale tones in half step intervals.” A Chromatic interval can be defined as: “An interval for which the upper note is not in the major scale of the lower note. If the upper note is in the major scale of the lower one, the interval is a diatonic interval.”

Here are the scale tones of the C Major Scale: C – D – E – F – G – A – B - C

Here are the non-scale tones outside the C Major Scale: C# - Eb - F# - G# - Bb

We can begin to study Chromaticism by adding these non-scale tones (C#-Eb-F#-Bb) to our CM7 Scale Pattern - one at a time. (For these examples we will also include the B to C half step diatonic interval).

Here are the half step “chromatic intervals” below the tones of the CM7 Scale. *(Plus the B to C)

B to C (Root)*
C# to D (9th)
Eb to E (3rd)
F# to G (5th)
G# to A (6th or 13th)
Bb to B (7th)

Our CM7 Scale Pattern starts at the 5th fret so we will begin with the half step intervals at the 5th fret: B to C > C# to D > Eb to E. (B to C is a diatonic interval - C# to D and Eb to E are chromatic intervals)

The first diagram shows our CM7 Scale Pattern using the notes of the CM7 Scale: C – D – E – F – G – A – B – C.
http://bb.steelguitarforum.com/viewtopi ... t=#1527652

The second diagram shows the half step intervals (B - C# - Eb) leading into the C-D-E scale tones located at the 5th fret of our CM7 Scale Pattern.

(C-6th w/ knee lever lowering 3rd string C to B)


Here are examples for the B to C half step diatonic interval and the C# to D chromatic interval - 4 to 5 fret:

The first diagram is an exercise using the B to C half step diatonic interval – 4 to 5 fret (7th to Root).
The second diagram is an exercise using the C# to D chromatic interval - 4 to 5 fret (b9th to 9th).

(C-6th w/ knee lever lowering 3rd string C to B)


Here is an example of the Eb to E chromatic interval at the 5th fret and an example combining all three of these half step intervals.

The first diagram is an exercise using the Eb to E half step chromatic interval - 4 to 5 fret (b3rd to 3rd).
The second diagram combines the B to C, C# to D, Eb to E half step intervals in one chromatic exercise:

(C-6th w/ knee lever lowering 3rd string C to B)


Tip of the Week: These are very basic examples of Chromaticism. Try stringing these exercises together into longer scale runs. If you woodshed these half step intervals on a regular schedule, you will find chromatic notes showing up in other areas of your C-6th work. Without even thinking about it - you will start to hear yourself playing chromatics in your melody lines, your blues lines, your scales, arpeggios and steel lines. Next week, we will continue studying the chromatic intervals at each fret of our CM7 Scale Pattern - for even more chromatic combinations.
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Lesson 16

Last week in Lesson #15 we started adding half step chromatic intervals to our CM7 Scale Pattern – one fret at a time – starting with the 5th fret. This week we will add chromatic intervals to the 7th and 8th frets of our CM7 Scale Pattern. All examples are in the key of C.

The first diagram shows the notes of our CM7 Scale Pattern with two half step chromatic intervals located at the 7th fret (C# to D and Eb to E) and one half step chromatic interval located at the 8th fret (F# to G).
The second diagram is an exercise using the C# to D half step chromatic interval – 6th to 7th fret (b9th to 9th).
**For the timing of this run begin by accenting the second note > D > 5th string > 7th fret**

(C-6th w/ knee lever lowering 3rd string C to B)


Here is a chromatic interval Eb to E located at the 7th fret and a chromatic interval F# to G located at the 8th fret of our CM7 Scale Pattern.

The first diagram is an exercise using the Eb to E half step chromatic interval - 6th to 7th fret (b3rd to 3rd).
**For the timing of this run begin by accenting the first note > Eb > 4th string > 6th fret**
The second diagram is an exercise using the F# to G half step chromatic interval – 7th to 8th fret (b5 to 5).
**For the timing of this run begin by accenting the first note > F# > 3rd string >7th fret**

(C-6th w/ knee lever lowering 3rd string C to B)


Here are all three chromatic intervals combined into one chromatic exercise plus an exercise that divides the phrase into three easy to learn parts - as explained below in this weeks “Tip of the Week."

The first diagram combines all three half step intervals: (C# to D) – (Eb to E) – (F# to G) - into one chromatic exercise. (Although this exercise is a part of our CM7 Scale Pattern, it does not resolve back to C. The exercise is designed to learn the half steps at these frets. In the context of a song, you would resolve back to C or to the next chord on the chart.)
**For the timing of this run begin by accenting the first note > D > 5th string > 7th fret**

The second diagram divides this exercise into three separate groups as explained below in this week’s “Tip of the Week.” For timing purposes, the first note to be accented in each group is marked with a > under the accented note.

(C-6th w/ knee lever lowering 3rd string C to B)


Tip of the Week: Sometimes it’s easier to learn long phrases by dividing the notes up into smaller, easy to learn groups. In the last diagram, the combined chromatic exercise is divided into three groups (a) – (b) – (c). After getting (a) down, start on (b), then (c) and then put them all together.
Although all these examples are in the key of C, the last exercise also works over a G7 chord. It might be easier to learn this exercise by thinking G at the 7th fret – and then return to the key of C when you got it down. All exercises in this lesson have been divided into groups’ labeled (a) (b) or (a) (b) (c). In each group, the first note to be accented is marked with a > under the accented note. This should set up the timing for each group and for the complete exercise
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Lesson 17

In Lessons #15 and #16 we added half step chromatic intervals to our CM7 Scale Pattern - one fret at a time - at the 5-7-8 frets. This week we will add the chromatic intervals located at the 8-9-10 frets of our CM7 Scale Pattern. All examples are in the key of C.

The first diagram shows the notes of our CM7 Scale pattern with a G to G# half step chromatic - 8 to 9 Fret, a G# to A half step chromatic interval – 9 to 10 fret and a F# to G half step chromatic interval – 9 to 10 fret.
The second diagram is an exercise using the G to G# half step chromatic interval – 8 to 9 fret - (5th to b6).
**Each exercise is divided into easy to learn groups (a) – (b) – (c). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

(C-6th w/ knee lever lowering 3rd string C to B)


Here are two exercises using the half step chromatic interval of G# to A located at the 9 to10 Fret of our CM7 Scale Pattern.

The first diagram is an exercise using the G# to A half step chromatic interval - 9 to 10 Fret - (b6 to 6).
The second diagram is an exercise also using the G# to A half step chromatic interval - 9 to 10 Fret - (b6 to 6).
**Each exercise is divided into easy to learn groups (a) – (b) – (c). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

(C-6th w/ knee lever lowering 3rd string C to B)


Here are two exercises using the half step chromatic intervals F# to G located at the 9 to 10 fret of our CM7 Scale Pattern

The first diagram is an exercise using the F# to G half step chromatic interval - 9 to 10 Fret - (#4 to 5).
The second diagram is another exercise using the F# to G half step chromatic interval - 9 to 10 Fret - (#4 to 5).
**Each exercise is divided into easy to learn groups (a) – (b) – (c). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

(C-6th w/ knee lever lowering 3rd string C to B)


Tip of the Week: In the 3rd diagram we find ourselves playing a 3 note descending chromatic run on one string! (3rd string = 10 > 9 > 8 Fret = A > G# > G). By dividing this exercise into easy to learn groups (a) - (b) we have fooled ourselves into playing a 3 note descending chromatic run on the same string. This is also true of the 5th diagram where we find ourselves playing a 3 note descending chromatic run (4th string = 10 > 9 > 8 Fret = G > F# > F). This phrase could be technically difficult if we thought about it just as a 3 note chromatic run on one string. By thinking of the phrase as two separate (a) - (b) groups (and two separate thought processes) and then shedding each group separately until they’re down – when we combine the two groups into one uninterrupted phrase– we trick ourselves into playing chromatics.

Also notice we have added a b6 tone = G # (Ab) to a C Major 7th Scale. Adding a b6 as a chromatic passing tone to a Major Scale creates the sound of a Bebop Major Scale = C-D-E-F-G-G#(Ab)-A-B-C. This is jumping ahead - but we will be working with Bebop Dominant, Dorian, Melodic Minor and Major Scales - further on up the road.
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Lesson 18

In Lessons #15, #16 & #17 we added half step – chromatic intervals to our CM7 Scale Pattern – one fret at a time at the 5 → 7 → 8 → 10 frets.

This week we’re back home at the 12th fret where it’s easy to hit a chromatic interval and then land safely on one of the chord tones located all the way across the fret:
C = Root, E = 3rd, G = 5th. All examples are in the key of C.

The first diagram shows the notes of our CM7 Scale pattern with the half step chromatic intervals located 11 to 12 fret: (F# to G) – (G# to A) – (Bb to B).
The second diagram is an exercise using an F# to G (b5 to 5) – half step chromatic interval – 11 to 12 fret – combined with a C arpeggio. Play over CM7.
**Each exercise is divided into easy to learn groups (a) – (b) – (c) – (d). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

(C-6th w/ knee lever lowering 3rd string C to B)


Here are two exercises that use the half step chromatic interval of G# to A located at the 11 to 12 fret of our CM7 Scale Pattern.

The first diagram is an exercise beginning with a G# to G (#5 to 5) – half step chromatic interval – (4th string → 11 to 10 Fret) – leading into a G# to A (b6 to 6) – half step chromatic interval – (4th string → 11 to 12 Fret) – combined with a C arpeggio.
The second diagram is an exercise using the G# to A (b6 to 6) – half step chromatic interval – (4th string → 11 to 12 Fret) – combined with a C arpeggio. Play over CM7.
**Each exercise is divided into easy to learn groups (a) – (b) – (c) – (d). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

(C-6th w/ knee lever lowering 3rd string C to B)


Here are two exercises that use the half step chromatic interval – Bb to B located at the 11 to 12 fret. Since Bb is the b7 (Dominant 7th) of C, the next two exercises begin to introduce Dominant 7th sounds into our Major 7th Scale Pattern. Play back these two exercises – first over a CM7 Chord – then over a C7 Chord and listen to the difference in harmony. Playing the Bb with the B over a C7 Chord starts to sound like a Bebop Dominant Scale.

The first diagram is an exercise beginning with a Bb to A (b7 to 6th) – half step chromatic interval – (3rd string → 11 to 10th fret) leading into two Bb to B (b7 to 7) – half step chromatic intervals: (3rd string → 11 to 12 Fret) and (4th string → 13th to 12th fret) – combined with a C arpeggio.
The second diagram is another exercise using two Bb to B (b7 to 7) – half step chromatic intervals: (3rd string → 11 to 12 Fret) and (4th string → 13th to 12th Fret) – combined with a C arpeggio.

**Each exercise is divided into easy to learn groups (a) – (b) – (c) – (d) – (e). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

(C-6th w/ knee lever lowering 3rd string C to B)



Here are some chords. The first one is an extended I-VI-II-V in Eb that can be used as an intro or ending. The second one is a Bill Evans type intro in F.

Key to Chart:

C-6th w/ D on top
Count = 1 → 2 → 3 → 4
Factory C-6th Pedals 5 & 6
NP = No Pedals
BKL = Knee lever lowering third string C to B
BbKL = Knee Lever raising 4th string A to Bb
(10) = Note is sustained from previous note – not picked



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Lesson 19

This week we continue working with Dominant 7th sounds around the 12th fret in the key of C. We will focus on the Bb interval located one fret above the 12th fret – at the 4th string – 13th fret and combine this interval with chord tones at the 12th fret. Bb is the b7 of C and gives us a Dominant 7th sound.

The first diagram shows the notes of our CM7 Scale pattern with the Bb half step chromatic interval located on the 4th string – 13th fret.
The second diagram looks down at the fretboard at the 4 note pattern we will be using in this lesson. This pattern looks like a “Stair Step” and can be very useful getting to Dominant 7th sounds fast. We will learn it and then tie it into chord tones at the 12th fret.

(C-6th w/ knee lever lowering 3rd string C to B)


Here are two exercises using the “Stair Step” pattern. The pattern uses the half step chromatic interval – A to Bb located at the 12 to13 fret of our CM7 Scale Pattern.

The first diagram is an exercise teaching the basic “Stair Step” pattern. This exercise is written to be played as a round. The pattern uses the A to Bb – half step chromatic interval – 12 to 13 fret and gives us a Dominant 7th sound.
The second diagram is an exercise combining the “Stair Step” with chord tones at the 12th fret. Play this exercise as a round. Play both exercises over a C7 Chord.
**Each exercise is divided into easy to learn groups (a) – (b). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

C-6th w/ knee lever lowering 3rd string C to B)


Here are two more exercises combining the “Stair Step” pattern with chord tones at the 12th fret.

The first diagram is an exercise combining the “Stair Step” pattern with a C7 arpeggio at the 12th fret - landing on the Bb at the 8th string – 13th fret. (When playing this arpeggio – pull back the bar off the string you’ve just picked – you will find yourself blocking the string with the middle finger of your left hand)
The second diagram combines all the above exercises: starting with the chord tones leading into the “Stair Step” pattern and ending with the C7 arpeggio landing on the Bb at the 8th string – 13th fret. Play both exercises over a C7 Chord.
**Each exercise is divided into easy to learn groups (a) – (b) – (c) – (d). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

C-6th w/ knee lever lowering 3rd string C to B)


Tip of the Week: After we finish adding chromatic intervals to our Major 7th Scale Pattern, we will begin studying Dominant 7th sounds in depth. We will create Dominant 7th sounds by transposing a Minor 7th Scale Pattern over a Dominant 7th Chord – and then create extended Dominant 7th and Bebop Dominant sounds by adding chromatic intervals onto this Minor 7th Scale Pattern – one fret at a time. Dominant 7th chords and scales sound good on the steel guitar. Try to play 7th's whenever you can – even on your commercial gig. Throw them in when nobody’s looking

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Lesson 20

This week we will add half step chromatic intervals to our CM7 Scale Pattern – 12th to 17th fret

The first diagram shows the notes of our CM7 Scale pattern – 12th to 17th fret – adding in the half step chromatic intervals: G# – Bb – C# – Eb.
The second diagram looks down at the fretboard at the notes of the CM7 Scale Pattern – 12th to 17th fret. Also pictured is the same pattern of notes – one octave down at the 1st to 5th fret. We will learn exercises that add chromatic intervals to these Major Scale notes. As you learn these exercises above the 12th fret also try playing them in the lower octave.

(C-6th w/ knee lever lowering 3rd string C to B)


Here is an exercise using the chromatic interval G# to A located on the 5th string – 13 to 14 fret and an exercise using the chromatic interval Bb to B located on the 4th string – 13th to 14th fret – of our CM7 Scale Pattern.

The first diagram is an exercise using the half step chromatic interval G# to A – (5th string → 13 to 14 Fret → b6 to 6).
**Please note an alternate way to play ** (b) & (c) parts.
The second diagram is an exercise using the half step chromatic interval – Bb to B – (4th string → 13 to 14 Fret → b7 to 7).
**Please note an alternate way to play ** (b) & (c) parts.
Both exercises end with a lick (b) & (c) that uses the Eb to E half step chromatic interval (3rd string → 16 to 17 fret → b3 to 3)
Play exercises over CM7 Chord.

**Each exercise is divided into easy to learn groups (a) – (b) – (c). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

(C-6th w/ knee lever lowering 3rd string C to B)


Here are two exercises using the C# to D chromatic interval located on the 3rd string – 14th to 15th fret of our CM7 Scale Pattern.

The first diagram is an exercise using the C# to D – half step chromatic interval (3rd string → 14 to 15 Fret → b9 to 9). This exercise ends with a lick using the B to Bb – half step chromatic interval – 3rd string – 12 to 11 fret.
**Please note an alternate way to play ** (b) & (c) parts.
The second diagram is another exercise using the C# to D – half step chromatic interval – (3rd string → 14 to 15 Fret → b9 to 9) This exercise ends with a lick using the Eb to E – half step chromatic interval – 3rd string – 16 to 17 fret.
**Please note an alternate way to play ** (b) & (c) parts.
Play exercises over CM7 Chord

**Each exercise is divided into easy to learn groups (a) – (b) – (c). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

(C-6th w/ knee lever lowering 3rd string C to B)


Tip of the Week: In Lessons #15 to #20 we have studied the use of chromaticism on C-6th by adding non-scale > half step > chromatic intervals to the scale tones of the major scale. We did this by adding these chromatic intervals to our CM7 Scale Pattern – 5th to the 17th fret – one fret at a time. Lesson #21 will summarize these six lessons on playing chromatics. Starting with Lesson #22, we will begin studying Dominant 7th sounds in depth by transposing a Minor 7th Scale Pattern over a Dominant 7th Chord – and then adding chromatic intervals onto this Minor 7th Scale Pattern – one fret at a time.

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Lesson 21

This week's lesson summarizes Lessons #15 to #20 on playing chromatics.

In Basic C-6th Scale Patterns we have been studying Major 7th (and Minor 7th) Scale Patterns as played on C-6th strings 5-4-3 with the knee lever lowering the 3rd string C to B. By running the Major Scale Pattern exercises in these lessons, we can learn to visualize the notes of the Major Scale as we look down at our C-6th fretboard.

(Lesson #6): http://bb.steelguitarforum.com/viewtopi ... t=#1548178

In Lessons #15 to #20, we studied the use of chromaticism on C-6th by adding non-scale > half step > chromatic intervals to the scale tones of our CM7 Scale Pattern – one fret at a time – 5th to the 17th fret. By running the chromatic exercises in Lessons #15 to #20 – one fret at a time – we can learn to visualize the chromatic intervals alongside the notes of the Major Scale.

Let’s look down at our C-6th fretboard:

The first diagram shows the notes of our Major Scale Pattern as played on C-6th strings 5-4-3 with the knee lever lowering the 3rd string C to B > 5th to 17th fret.
The second diagram adds in the chromatic intervals we studied in Lessons #15 to #20. The chromatic notes are in parenthesis (C#) alongside the notes of our Major Scale Pattern.

(C-6th w/ knee lever lowering 3rd string C to B)


Now let’s visualize these chromatic intervals – again looking down at our fretboard:

The first diagram visualizes the notes of our Major 7th Scale Pattern > 5th to 17th fret.
The second diagram visualizes the the chromatic intervals (●) alongside of the notes of our Major 7th Scale Pattern.

(C-6th w/ knee lever lowering 3rd string C to B)


This week's lesson is just a summary. Don’t think you have to learn all these notes in one day! These chromatic exercises in Lessons #15 to #20 are designed to learn and visualize where these notes are on your fretboard – one fret at a time. Before you know it you will be hearing chromaticism in your solos. Play your way into trouble: Try starting a solo by playing a non-scale note on the downbeat and and then find your way back into the major scale. Also try playing two non-scale notes in a row and then resolve back into the major scale. Start a major scale run and then land hard on a chromatic - and then resolve that.

Run your solos up and down the fretboard adding chromatics to the Major Scale Pattern. Here are two examples:
**Each exercise is divided into easy to learn groups (a) – (b) – (c) – (d). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

(C-6th w/ knee lever lowering 3rd string C to B)

Crowbear, I am actually very dizzy now. steve t