Karlis Abolins
From:
(near) Seattle, WA, USA
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Posted 11 Jun 2002 10:25 am |
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Sonny Jenkins asked me to look at the E9+6 copedant as used by Zane Beck. He says that he has always been fascinated by the copedant but has hesitated to switch without actually seeing how it works. Sonny sent me the copedant layout that he prepared using Guitar Map and I looked at it to see what it was all about.
| Tab: |
E9 add 6
LKL X LKR l 2 3 4 RKL RKR
G# + +
F# ++
E - + ++
C# + + ++
B ++ +
G# + +
F# - -
D + ++
B ++ -
G# -
E - ---
B -
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As you can see, the only familiar pedals are the A B(2 3) pedals in the Day setup. But if you look at it closely, you will also find the D and F knee levers (LKL LKR). B C pedals are 3 4. I am not as familiar with the E6th (C6th) pedals and knee levers so I don't know how they work here.
However, I use a different filter or criteria to look at copedants. I look to see how easy it is to harmonize the major scale with the pedals and knee levers, both across the neck and up the neck. For those of you who do not know what I am talking about, I will offer a brief explanation. I will base the discussion on the key of G. The major (diatonic) scale numbers are 1 through 7. The construction of the major scale follows the pattern full step, full step, half step, full step, full step, full step, half step. You then repeat it in the next octave and so on. Thus the G major scale is G, A, B, C, D, E, F#. When you harmonize the scale, you add the appropriate third and fifth notes to the scale note to create a harmonized chord which fits within the major scale. You have to use the notes of the major scale when you create the harmonized chords for the song to sound "good". There are exceptions and we use them all the time because of our limitations. Thus the first note in the scale, G, is harmonized with a B and a D. This gives us a G major chord. The second note in the scale, A, is harmonized with a C and an E. We don't get an A major chord. Instead with get an A minor chord. We repeat this up the scale for every scale note. The result is G Major, A minor, B minor, C Major, D Major, E minor, F# diminished (minor third with a diminished or lowered fifth). We don't think about this much but we use it every day. We use 2-note interval scales across the fretboard and up the neck all of the time. All we do is choose 2 of the 3 notes out of the harmonized scale chords.
To get back to my discussion of the copedant, I look to see how easy it is to harmonize the scale. I look to see how easy it is to get across the neck as well as up the neck with the harmonized chord scale. If I can do it easily, it will mean that songs will be easier to play.
So, the harmonized major scale for this copedant across the neck is:
| Tab: |
--------------------------------------------------------------------------
1|
--------------------------------------------------------------------------
2|
--------------------------------------------------------------------------
3|
--------------------------------------------------------------------------
4|
--------------------------------------------------------------------------
5|
--------------------------------------------------------------------------
6|
--------------------------------------------------------------------------
7|
--------------------------------------------------------------------------
8| 1 3 5 7(LKR
--------------------------------------------------------------------------
9| 1 3 1(LKL 3(LKL 5 7
--------------------------------------------------------------------------
10| 3 1(LKL 3(LKL 1 3 5 7
--------------------------------------------------------------------------
11| 3 1 3
--------------------------------------------------------------------------
12| 3
--------------------------------------------------------------------------
I ii iii IV V vi vii dim.
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With a little movement, you can get the harmonized scale in the lower notes quite easily.
Now, lets look at harmonizing up the neck on the higher notes
| Tab: |
--------------------------------------------------------------------------
1|
--------------------------------------------------------------------------
2|
--------------------------------------------------------------------------
3| 1(LKL 3(LKL 8 10 10(4 12(4
--------------------------------------------------------------------------
4| 10
--------------------------------------------------------------------------
5| 3(RKL 1 3 8 10 12(RKL
--------------------------------------------------------------------------
6| 3(2 1 3 8 10 10(4 12(4
--------------------------------------------------------------------------
7| 3(1
--------------------------------------------------------------------------
8|
--------------------------------------------------------------------------
9|
--------------------------------------------------------------------------
10|
--------------------------------------------------------------------------
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With the LKL, RKL and the 4 pedal, you can harmonize up the neck quite easily.
Karlis
Last edited by Karlis Abolins on 27 Mar 2010 5:20 am; edited 1 time in total |
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Al Marcus
From:
Cedar Springs,MI USA (deceased)
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Posted 11 Jun 2002 8:03 pm
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Karlis-Zane's tuning is very potent, he wrote it out for me in 1968 when I saw him at a jam in Napa,CA.
He gets a lot of jazz chords on it too. Plays a lot in Dmaj7, D6, E9, I like that C# in between the E and B and he pulls that up to a D when he plays pedals A and B. Lots of of good stuff there.
He was ahead of his time.....al  |
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Larry Bell
From:
Englewood, Florida
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Posted 12 Jun 2002 5:28 am
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It also shares many features with the 14-string E6/9 tuning that Julian Tharpe used. As Al points out, it is a very 'musical' tuning, with a lot of closely voiced chord possibilities.
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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro |
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