The Steel Guitar Forum

Vertical single line Mode playing in the Up and down positions combined with “The Amazing One Pedal Three String” for the horizontal lines.

This makes use of my little spreadsheet I programmed so that I just put the scale in numbers under the correct alphabetical note and it appears on the E9 neck view.
The beauty of this program is that it is real simple and uncluttered.

The concept here is to learn just one map and you can go anywhere.

This is such a simple concept that explaining it is going to be complicated.

As you can see by the spreadsheet the map is exactly the same for the Amaj the E7 and the Bm.
So I take that bit of knowledge and expand on it.
I know the major (Ionian) scale is not going to be a problem because I already should know where to find the up and down major chord positions on the neck.
But I’m going to have to take what I’ve learned from the spreadsheet to find the dom7 (Mixolydian) scales and the minor (Dorian) scales.

I can see by my spreadsheet the E7 is the same map as the Amaj and the Amaj is a 4th to the E7 so it follows then if I wanted an F7 map I would use the major that is built on the 4th of the F7 which would be a Bb major and my F7 would have the same map. And So on

I can see that the Bm is the same map as the Amaj and the Amaj is a b7 to the Bm so it follows then if I wanted and Em it would have the same map as a Dmaj. And So on
It’s not hard to visualize that it is reasonable to assume then that the harmony and chord maps would necessarily be the same. And So On

It would also suggest to you that the remaining Modes would fall into the same map.

The F# relative minor would also fall within the map of the Amaj so the Map for the relative minor would be the same as the b3 of the relative chord.

So you just have to learn one and you have them all. Have Fun

You should be able understand the numbers and be able to visualize how the pedals and levers affect the strings and change the numbers. If you are not able to do that then study and learn that first before you start a spreadsheet.

I see I'm not alone.

For blues song in A use the Gmaj map for an A Dorian scale or Dmaj map for an A Mixolydian scale.
Get creative and mix them.

Willing to share the .xls file with us?

I think my works goes up to 9.0 Hope this will work for you. Just uncheck formula and and check hide O's widen the colum widths to about 4 or 5 and you're ready to go. It says it's not supported which means the don't have a file icon for it. Just go ahead and download it.
chick here for .xl
You might give this one a try it might be a little guicker to get it up to spead.
Click here for .xlr

stuart..you really seem quite intelligent, considering who your father is!

A quick glance tells me that fret 11 is just about useless. Other than that, this might as well be nuclear physics (to me...anyway).

Donny,
Less is more, the absence of activity on the 11th fret is in inverse proportion to its effectiveness.

Vertical single line in the up and down positions shown in borders and “The Amazing Three String One Pedal Thing” in the yellow path.

I listed that as a given in my topic lede

So let me reiterate for those that might have missed that.
I was only interested in the notes in the borders representing the tone bar, the notes that are there and the notes you could pull under the tone bar with your pedals and levers to play the chosen mode vertically.

The only other notes of interest in this would be those in the yellow for that “Amazing Thing” played horizontally.

So for those two little simple combined concepts I don’t give a rats … about the rest of the notes or the rest of the frets.
I just left them there to remind me I can do a lot of good things with those in some other context.

This thing assumes a lot. It assumes that a person understands what the pedals and levers they have “do“.
It assumes that they have access to the “Amazing Thing” so they will understand what it’s uses are and what to do with the one pedal (the B pedal)
It also assumes you can read the scale in numbers and that you have at least a vague idea of dealing with Modes.

There are millions of paths a person can take so I see no harm in getting a map and take a hike down a few of them.

Stuart,
This is some interesting left brain stuff you have going on here.
Thanks for sharing it!

I gain a lot more knowledge from making my own charts than from staring at other people's.

This appears to be very similar to the spreadsheet that Joe Wright has developed and uses in his videos and seminars.

http://www.youtube.com/watch?v=oghNoqQrSUQ

Great minds think alike, so it seems.

b0b, it's like reading somebody else's C code. Takes a while to get "in the zone".

Or as Dorothy Parker from the Algonquin Round Table once said, "What Fresh Hell Can This Be?"

Stuart, you are making have to think here.... Must be savored like a fine wine...

One thing I happen to be aware of, is that you can solo over pretty much any Grateful Dead song using Jerry's 3 most used Modes, Ionian, Mixolydian, and Dorian, which are presented here.
So if you are a jam-band Steeler, these charts lay it out for you. Just slide the "1" to the root key.
Stuart, the top line above the charts (C,D,E, etc...), looks to be off by two frets. No?...(I'm guessing that is the pedals down Key)?
What are the numbers below that line?

I must confess that I am absolutely lost.

I can see that the horizontal numbers 0-24
refer to the frets, and the vertical numbers 1-10 in the far left column refer to the strings, but what do the other numbers signify? What's b3 and b7?

I can just about understand tab, but this is totally beyond my comprehension

b0b has hit it right on the head.
All these things I put on here are about using Spreadsheets,TablEdit, Photo Shop and BIAB to learn and share ideas.
All I'm doing is showing how to use those programs by offering some "what if's" from time to time.

The numbers are the notes of the scale in numbers.
The advantage to using scale numbers on the E9 neck view is that the numbers don't change.

Dorian........1 2 b3 4 5 6 b7.....minor

Mixolydian....1 2 3 4 5 6 b7......Dom7

Ionian........1 2 3 4 5 6 7.......major

no matter what key they are in.

I now see that that info at the top of each chart is the scalar Legend for the given Key, relating everything back to the Key of C (C to C) like the white keys on Piano, and that it is not intended to line up with the frets below.

John Alexander wrote:This appears to be very similar to the spreadsheet that Joe Wright has developed and uses in his videos and seminars.

http://www.youtube.com/watch?v=oghNoqQrSUQ

Great minds think alike, so it seems.

I hope you're are not implying that Stuart stole the spreadsheet from Mr. Wright.
I've been using that little spreadsheet thing from way back when I programed it for credits in my Computer class way back when floppy discs were almost as big as 45 records and I had never heard of Joe.
Stuart got it from me very shortly after that.
I'm not saying I invented it. I'm sure some music major at a University created something like it years before I even dreamed of it.
I'd have to say that joe's use of a spreadsheet is an excellent way to teach and you couldn't go wrong with Joe ideas.

I've placed this spreadsheet thing on here a few times before in the past.
It was a little harder to program when you had very little memory used Dos and Bo had to type in all the commands.

I think you'll find my use of numbers also way back.

But no matter you can use mine, program your own or buy Joe's, it has little to do with the topic.

Why not watch Joe's video. It may help in the understanding of this whole thing.

It doesn't take a genius to use "Works. TablEdit BIAB and know a lot about music.

Bo Legg wrote:I hope you're are not implying that Stuart stole the spreadsheet from Mr. Wright.

Not at all. I thought it might be useful to know that Joe is teaching with a tool that looks to be somewhat similar. For one thing it validates the practicality of this type of tool. Also, it can be useful to compare what someone else is doing - there may be differences as well as similarities.

Thanks John I'm glad you posted that video. That will be a great help in this topic.
Sorry about my reply. My inclusion of that sentence was uncalled for and unnecessary as a part of my reply.
I'm finding it difficult curbing my overly defensive tendencies.