The Steel Guitar Forum

Hi all. I would like a chord finder for universal 12. I have a lesson on one monday, but I have been studying E9 / C6 because that's what I am getting.
More specificly I want to get as close to the C6/A7 lapsteel tuning as quickly as possible monday. Once I can get to where I am familiar, then I can muck around with it.
My teacher is cool, and the only steeler within 4 hours drive, but he has very little english and my french is not like I would prefer. So I am asking this here, so I have time to think about it before monday. Thanks all.<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by David L. Donald on 26 February 2003 at 03:01 PM.]</p></FONT>

U-12, with the E lower lever engaged, is just like C6th except that everything must be played 1 fret higher.

The C6/A7 lap tuning is the same as P8 on the pedal C6th. On a U-12, you lower your E-s with the knee, then push P8 and you have it, except that you need to play 1 fret higher.

Hope that helps. See this page.

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<small><img align=right src="http://b0b.com/b0b.gif" width="64" height="64">Bobby Lee - email: quasar@b0b.com - gigs - CDs
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9), Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6),
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OUI mon amie exactly what I was looking for, get grounded then see what can be changed.

I was pointed by Ed Packard to his comprehensive theory lesson. Incredible... like the 1st 6 months of Berklee CoM on a web page.
But I will note that 1/2 of the 1st semester students at Berklee stay home after xmas. And 1/2 of those left don't come back the next year.
But ya can't let it "slide" by like that on a PSG.<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by David L. Donald on 26 February 2003 at 02:29 PM.]</p></FONT>

i went to berklee and will finish my last year there in sept. the problem with theory there is they make it way to confusing. Ill sum it up a second.

know the diatonic scale in and out. then take everything from there.

harmonic minor = ionian #5
melodic minor = ionian #1
harmonic major= ionian b6

all the chords and scales can be taken from altering each mode throughout example: Dorian #4 etc, for harmonic minor

Hi Cory Congratulations on nearly 4 years of Berklee! This is no small accomplishment. And will be invalubale on the PSG.
I went there myself back in the early 70's but I also had a great friend who taught me more in practical working theory than I ever learned there.
I have 2 friends who were 4 year composition majors. They each said only 7-8 people from their freshman class were still with them.
My friend James Voris played 17 instruments when I played with him. And we gigged with Alan Dawson a couple of times. James played 9 instruments WELL those nights. Sometimes soloing on 5, plus piano on the same song.<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by David L. Donald on 28 February 2003 at 01:54 PM.]</p></FONT>

David.
Un ami.Une amie.Mon ami.Mon amie (instead of "Ma amie" which doesn't sound good)
Good luck MY FRIEND (easier in English)
JS

Sorry to offend the francophones. I never spoke or wrote french before I ended up in France.
And with a bit of dyslexia worse it's.
But I am here and do the best I can. Desole, pardon mon mauvais français!<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by David L. Donald on 28 February 2003 at 02:02 PM.]</p></FONT>

I was on the U-12 doing some booklearin' things and thought I was going mad... untilmuch later he mentioned the C and D pedals weren't there... it went A B E F G.
Brave new world, Ooh la la.
100 steelers 90 set-ups

Cory-

I'm a Berklee boy myself, congratulations in advance on your upcoming graduation.

Let me make sure I follow your example (they didn't teach it this way about 30 years ago). For anyone who doesn't know the Greek modal names, Ionian is the major scale.

Let's assume we're in C.

If I follow you correctly, Ionian #5 equals A Harmonic Minor, #1 is D Melodic Minor, and b6 is C Harmonic Major.

Is this what you were saying?

Thanks-Mike

hi. mike
definitely a major scale with a raised 5th.
so if your in the key of c you have a major scale with a g# instead of a g. just keeping plugging in that formula for each scale or mode. im not sure how you look at musci theory, but what you said about the harmonic minor was correct, the A harmonic minor, because you have that g# there no g anymore. look at autumn leaves it is in the key of G or e min (school way) but they alter the 3 chord. the B min7 becomes a B7 which is harmonic minor because you raised the D to a D# then it resolves to the emin. i really like the sound of the altered B7 phrygian #3 if your use the formula. i always look at all the modes altered, but the school insists on taking you to the 6min.
Cory

Mike and Cory Hi You guys play PSG I assume since your here. How are your instruments set up to do this advanced theory.
I am setting up a D-10 next week and trying to pin down exactly what I want done. I have a local teacher, but only on a odd U-12 set up.<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by David L. Donald on 05 March 2003 at 04:52 AM.]</p></FONT>

David-I'm not the guy to ask how to set your guitar up. PSG is not my primary axe, and I've only had one about 4 years, so I'm no expert. Be glad to answer theory questions though.

Cory-So Berklee still sticks with that Harmonic minor theory for ii-7b5/V7b9/i-. I never did like that as well as the way Monk approached it concerning parent scales.

F#-7b5=sixth mode of A jazz minor
B7b9=seventh mode of C jazz minor

Have done George Russell's course since then, The Lydian Chromatic Concept of Tonal Organization, which was quite enlightening. All 12 tones are available, with a place for everyting and everything in its place. He still lives in Jamaica Plain, and is on the faculty at New England Conservatory. If you ever hear of him doing a lecture or something, it would be well worth your time.

Well a chart of modes would be cool, to refresh what I have forgotten in 35 years LOL.
I write way beyond my theory analysis level.
But that makes no difference to me because my harmonic ear is there now.

My sulfegio is the pits compared to the french. But you'll like this. Do is ALWAYS C and Fa always F etc.here.
Folk guitar books are written in Sol minor, La maj etc etc. Made me nuts when I first got here. So they all sing a C when they see Do, that has certain benefits.
But to transpose on the fly for a singer... fo'gettaboudit.

Isn't it an amazing fact the the best steel players in the world never went to Berklee, Juliard, or any other shool of music. Most of them learned by the good old trial and error method. I know some guys who are well schooled musicians and teach very well but can't play a gig to save their life. Like the old saying goes, "THOSE WHO CAN PLAY, PLAY!! THOSE WHO CAN'T, TEACH..."

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Livin' in the Past and the Future with a 12 string Mooney Universal tuning.

Jerry I hate to say it... but some of the BEST gig's I ever played were with Berklee Profs. These guys aren't just theory gurus they are serious players... who also teach.
Berklee has it's ways and to some extent, particularly for the early years it is
taught the Berklee way.
But these guys also give their 2 cents to the students about practical playing.
Ever here The Wayfaring Strangers album? Matt Glaser Berklee prof. with Ralph Stanley no less.
Alan Dawson, the percussion dept creator, played with anybody good coming to town needed a rhythm section, like Dizzy Gillespe needing a pick up band with my old upright bass and theory teacher John Neves. I saw him with Dawson and Dizzy. Just awesome.
Rich Applman bass dept. head great player, I have played electric bass after him with his drummer Bob Gullotti from the Fringe.

I played with Alan Dawson twice he played a drum solo, over a bossa, in 6/8, 3/4, 4/4 and 12/8 with each hand and foot doing a different time signature... and it was MUSICAL.

Oh yes Gary Burton the vibist.
Some of these guys have families and hate the road.
So at Berklee at least that old saw, don't cut wood.
That said you can still be a brilliant player self schooled. Some people just have that brain. And all of them will likely give credit to several ole pals who talked shop with them for years bouncing ideas of each others heads between sets.
Trial and error is a large part of creativity anyway.
Berklee does give you a strong head start with all the stuff people have been coming up with long before you were born. It's an intense jump start for your creativity and might not really get out of you for 10 more years. But it sure can help you along that road.
But it's not for everybody and why should it be.
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by David L. Donald on 05 March 2003 at 09:04 AM.]</p></FONT>

Cool? I agree there are exceptions to the old cliche but not where I live. I know guys who have a full schedule of students but can't kick off "Crazy Arms" to save their @$$. Anyway, have a great day...JH

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Livin' in the Past and the Future with a 12 string Mooney Universal tuning.

jerry - well first ill start off with, im going to school there for the music therapy program to help handicapped kids, stroke victims etc in schools and hospitals and get the piece of paper so i can do this. But i sure did meet some great teachers there Mick Goodrick Mike Stern etc and of course there are teachers who shouldnt be teaching or playing music . there isnt a pedal steel department there but hopefully when i go back next year i can try to work somethin out. I like what Joe Wright says the more you know the more you can blow, if you think he cant play the steel , ill quit playing music tonight. Im talking about playing jazz and keeping music theory things simple which we were talking about earlier not playing country music. I guess you learn it then forget it and just turn off the lights and play.

<SMALL>there isnt a pedal steel department there but hopefully when i go back next year i can try to work somethin out.</SMALL>

Mike Ihde is an instructor at Berklee and I thought he had a steel guitar course going there.

From the Berklee web site, here is his Faculty Biography: <BLOCKQUOTE><font size="1" face="Verdana, Arial, Helvetica">quote:</font><HR><SMALL>Mike Ihde
Associate Professor
Guitar


• B.M., Berklee College of Music
• Film composer for The Sun Dagger
• Author of Rock Guitar Styles and Country Guitar Styles, Hal Leonard Publications
• Performer/clinician on lap and pedal steel guitar
• Recipient of numerous songwriting awards
• Author of A Different Slant cassette and TAB book for lap steel</SMALL><HR></BLOCKQUOTE>

Boy, talk about topic drift!

Well, U-12 chords led to modes, which led to Berklee, which led to Mike Ihde. Now we just need Mike to come on and explain how modes relate to chords and how they relate to the U-12 to complete the circle.

David-Thank you for your response. I came quite close to being offended by a couple of comments, and you saved me from having to dignify them with a reply.

David,
you should look into Forum member Karlis Abolins's Guitar Map Display.
look him up in search and perhaps you'll find his thread or email him to get GMD
it's a good One.
you can include your copedant and you will find chords, scales and more....

Hey b0b No problem with me for topic drift in this case. LOL. Berklee and modes is fine with me in relation to chord finding.

Mike glad a save you some frustration. So many people here are helping minimise my frustration! Dignity can be over rated ... if it prevents you from learning!

Mike Ihde I believe runs the official Buddy Emmons website, So that works for me.
Mick Goodrick Mike Stern what more can you say. Fine Fine players with their own defined styles, who teach.
Cory, your quite correct there are great teachers, and some who should run accountancies, not teach music. Great with the numbers, but no sense of how it aplies. Also very nice future gig for you, music therapy Bravo!
And the Joe Wright comments ; Wright on ! I was told at Berklee decades ago... shudder, learn everything and then forget it. It will then come out naturally.
CB I will definitly search for Karlis Abolins's Guitar Map Display. Thanks!

We had a good 10 Am copedant analysis session this am, running on too much coffee, after an 8 hour session till to 4 am last night.
I clearly need LKL and LKR on the C6... two more levers in the middle. and something on RKL#2 but I don't know what yet. But RKL#1 has to move frontward an inch or so. I need a powerful C6.

MY modes... aaah well I studied them and forgot all the specifics, but I know I play them without thinking about them. Now I am in PSG MODE!!<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by David L. Donald on 06 March 2003 at 06:48 AM.]</p></FONT>

<SMALL>Mike Ihde I believe runs the official Buddy Emmons website</SMALL>

Ernie Renn runs Buddy's site.