The Steel Guitar Forum

It seems to sound ok when I play the 9 7 6 with the AB pedals down at the third fret when the band is playing a C. Would this be playing a 4 over a 1 cord?

Yes, it's an F chord.

As b0b said most likely an F but there is an off chance it could be a Dm7 or G11 or Bbmaj9 or Ab(13b9) or Eb(13b5) or B7(b5b9) or etc. etc.. The chord formula all depends on It's relationship to a given Key.
Some will claim that since it is stated strings 9 7 6 on the 3rd fret we are painting by numbers here so just paint it "F" and forget the "Shades of Embellishment" since most of course will think I'm being a S A.
I only mention "Shades of Embellishment" here to bring it to your attention as my next topic if Bill Hankey doesn't beat me to it.

coming from playing 6 string for years I was questioning why it is ok to play that over the C. Is this because of the scale?
I just play and do not have a lot of music back ground.

B0b is correct, it's an F.

Take note that any Major chord played on strings 8, 6, 5 with no pedals (such as F on the first fret) can also be played two frets higher, with AB down, on strings 9, 7, 6.

The notes are the same.

This opens up a few interesting possibilities of new licks and transitions.

The C6 chord has the notes C E G A.

The FMaj7 chord has the notes F A C E. That's what you would get on strings 9 7 6 5 at the 3rd fret AB. So you see it has 3 notes in common with C6 (A C E).

I wouldn't play the 9th string there against a C chord normally. It usually doesn't work, except in passing.

I assume that you're standard E9th with the 9th string tuned to D. Right?

that is what i have. thanks for the help it opens u a new set of things to think about.

I would have sworn it was a B7(b5b9) but as usual you guys are all going to side with b0b.

Stuart Legg wrote:I would have sworn it was a B7(b5b9) but as usual you guys are all going to side with b0b.

I use many substitute sounds in order to get to the nearest thing that sound right in quick tunes. Eb..B..F#.......sounds right with a C and another example = G#..C#..F......sounds right with a D....etc.

Git it a close as you can and pickit, if you wait to long to anylise it...it is gone. Just saying.

I agree with b0b it is F - do not confuse me with all those other facts

I also color out a box of 8 Crayolas -

Joe Naylor
www.steelseat.com

Joe Naylor wrote: I also color out a box of 8 Crayolas -

Joe Naylor
www.steelseat.com

But what if someone wants a steelseat in Burnt Sepia?

Robert Brewer wrote:It seems to sound ok when I play the 9 7 6 with the AB pedals down at the third fret when the band is playing a C. Would this be playing a 4 over a 1 cord?

I use this grip quite a lot to get a 4 chord. For those of you that have a half tone raise on the 7th string, you can get a sus 4th using this same grip. I have this change on my LKV which also lowers my 5th string to Bb on my PP guitars. That combination won't work on an all-pull guitar but it works great on a push-pull because of the raise dominant changer, as you can't lower a string being raised.

Well Jarek it says burnt so I will get a match -

steelseats is different I have lots of samples and photos

Joe Naylor
www.steelseat.com

Lynn Stafford wrote:

Robert Brewer wrote:It seems to sound ok when I play the 9 7 6 with the AB pedals down at the third fret when the band is playing a C. Would this be playing a 4 over a 1 cord?

I use this grip quite a lot to get a 4 chord. For those of you that have a half tone raise on the 7th string, you can get a sus 4th using this same grip. I have this change on my LKV which also lowers my 5th string to Bb on my PP guitars. That combination won't work on an all-pull guitar but it works great on a push-pull because of the raise dominant changer, as you can't lower a string being raised.

I just punch the third pedal down and get a pure 4 chord across all 8 strings. Sure, I have limited the single pedal to making just a 1 a 2 a 3 a 4 a 5 a 6 a 7, depending where you hold the bar, but the rest of the the other 4 pedals can work off of the open tuning ( tuned to a pure one chord ).. to add the other combinations that I want to express in a tune. Those chords that cant be accomplished with this setup can be faked in.....with two strings. Stuff that falls outside of these capabilities dont need to be included in a country tune that was written with only 4 or 5 chords in the first place. Let the singer or the lead instrument voice the many notes in the melody.... JMHO

So tell me, what is this cord?




But seriously, I use that grip on occasion too, to get the 4 chord in the pedals down position. Also use strings 9, 7, 5 with pedals down to get the major 7 of the D chord (open) minus the 5th tone of the chord. Very sweet.

Richard Sinkler wrote:So tell me, what is this cord?




But seriously, I use that grip on occasion too, to get the 4 chord in the pedals down position. Also use strings 9, 7, 5 with pedals down to get the major 7 of the D chord (open) minus the 5th tone of the chord. Very sweet.

That is an enabler cord. ie: It flexes to permit the touring of the steel guitarist, pushed by roadies, to tour the audience on a platform which hauls an 18 pedal steel ( with 16 knees and 15 strings) so as to permit the viewing of the virtually impossible attempt to sound like the entire ensamble of the Philadelphia Philharmonics Orchestra. This will sort of play down the importance of the other members of the pickup band that was hastily thrown together for this gig.
(Saved again by the steel guitar player)...lol ( not good at sarchasm here.....or spelling...or steelsmanship)

Robert the answer to your initial question is yes. To play a four note 4 over 1 go to the first fret and play strings 10, 8, 6, 5...why I use four picks...C in the bass and an F chord on top...later...joe