Chords and build

[ed packard]

First to answer some comment from the SGF.

RE “excessive parallelism “…what is “excessive” is a matter of taste, and a matter of usage. If you have something, you can use it or not…if you don’t have something, you can’t use it.

RE “marching”…there are other ways to use the chords in the illustration.

RE “three changes” etc. …I have no problem using 4 on my 4X5 E9/A6/B6/13 series unit.

OK, onward and upward; The claim was made by a chap not presently participating, that the more types of chord, and more places to find them on the neck is a plus (paraphrased). Lets look at the CM13 NC neck. First the NC neck as notes so you can find your favorite chords.

CM13 NC NECK NOTES KEY OF C.


And for those that prefer to work in intervals,

CM13 NC NECK INTERVALS KEY OF C.


And for good measure, the chord type chart for NC.

NC CHORD CHART.


Using the CM13 NECK NOTES chart, and the assigned changes, let’s see how many 4 tone C chord types we can find on fret 0 using string 8 as the root string.

CM13 4 TONE C CHORDS, FRET 0, STRING 8 AS ROOT.


And some comments.

COMMENTS.


There are C notes on every string. A list of C chord types can be made for each of these C notes. If you run the lists out, you will find the same chord types at several places on the neck. This allows a degree of flexibility in morphing from chord to chord in a progression.

[ed packard]

Well, now you know how to use the NC CM13 neck layout to determine what can and cannot be done on the CM13 structure. I am fully aware that if you find what you are looking for, it won’t be the way you want it (wrong fingers, too many fingers required, too many changes needed, doesn’t do it like my present tuning/setup/coped does)…it has always been thus.

Since the subject of inversions has been broached, try some 3 and 4 tone C inversions on the NC neck…and for no other reason than the thread was about “chords”, I toss another chart at you. The subject is inversions, and this is one of the studies (short form) I ran on inversions. It is from the head and input by the fingers, so errors are likely…have fun.

[ed packard]

Let’s look into chords from the modal scale standpoint. The C major scale has been used in this thread…it is a “modal scale”.
For info on modal scales, check out:
http://en.wikipedia.org/wiki/Modal_scale
For info on modal scale usage in JAZZ check out:
http://en.wikipedia.org/wiki/Jazz#Modal_jazz

For our PSG application we will use the CM13 structure to deal with the first seven “modes” often called “church modes”. Here is the CM13 neck as we have used it for finding chords. Notice that the open strings have the notes C E G B D F A of the C Major = Ionian mode scale. Notice that any group of adjacent strings (say four for now) provide chords that harmonize the C Major (Ionian) scale…a very convenient arrangement.



If we apply b3 and b7 to the tuning, we get Cm13, which when raised two frets gives us Dm13 = D F A C E G B…these become string notes, and the rest of the C Major (Ionian mode) scale harmonizing chords.

We can harmonize the other six church modes using the same method that was used for the C Major = Ionian mode, and we get the same list of chords as shown in notation form in a previous post (see above posts). For the DORIAN mode, just start with Dm7 (for four tone chords) and proceed thru the scale to the next Dm7. Do the same for the PHRYGIAN mode starting with Em7, etc.. The chord types that were used to harmonize the C Major scale are the same to be used for the “church modal” scales…and so are the notes.
• Ionian (I) =CM7
• Dorian (II) =Dm7
• Phrygian (III) =Em7
• Lydian (IV) =FM7
• Mixolydian (V)=G7
• Aeolian (VI) =Am7
• Locrian (VII) =Bm7b5

If your tuning/setup allows 3,4,5,6,or 7 tone close harmonizing of the C Major scale, you have what is needed to harmonize the Church Modal scales.

There are many more scales = modal, ethnic, jazz, etc., but these require other chord types for harmonizing purposes.

[ed packard]

The die was cast…the CM13 tuning/setup has migrated to the BEAST…pictures later.
The beast has 10P, 7L, and a lock. It was a variation of the E9/A6/B6 with two pedals dedicated to the 13 series tuning. It is now using 9P,5L with the CM13 structure.

The conversion took only 5 hours to do because of the simple nature of the BEAST undercarriage. The CM13 uses only a single row of halftone raises, and a single row of halftone lowers (one each per string) = simple changer.

So we have a CM13 (C E G B D F A) on a 30” scale with two interchangeable tapped pickups, changer on the players left, and an integrated tuner/changer = keyless.

Because of the extended scale, the tuning is really AM13 (A being string 8). This makes the highest string the same tension as the famous G#. Here, we will continue to talk about as being a CM13 as it is more easily understood in C.

Here is the changer end after conversion:



Here is the link to the mechanics before and after conversion.

http://s75.photobucket.com/albums/i287/ ... 20CHANGER/

This is one of many scale harmonizing methods for the CM13 tuning setup:



Here is the link to the CM13 tuning/setup musical results.

http://s75.photobucket.com/albums/i287/ ... S/CM13EX1/

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[richard37066]

Ed -

I've been out of sorts - healthwise - for well over a month thus have not passed any comments upon your offerings.

Our members know that I have extolled some of the virtues of your system. I can only say, at this time, keep 'em comin'!

Richard

[ed packard]

Richard...how is the ticker today? Here is the latest = CM13 LIGHT.

Back to the CM13 stacked 3rds tuning/setup and chords:

To get the most chord types and locations for the least mechanics the assignment of the changes needed to be optimized. The total 13 series tuning/setup used 15 changes (10P & 5l)…That is a lot of mechanism. It was possible to make the CM13 light using 4 pedals and 5 levers (shown below).



The chords available are still with the halftone raise or lower with each string useable as a root, and all chords using adjacent strings. Here are the 3,4,and 5 tone chords available using string 8 as the root.



To see the chords available using strings 4,5,6,7,9,10,11,12,13,and 14 in the same format, go to the link below, and go to the end of the set.

http://s75.photobucket.com/albums/i287/ ... ?start=all

One could even do without using P3 and P4 without loosing much. The pedal and lever setup begins to resemble the E9 as opposed to the E9/B6 count and functions. L<,L^,L>,R<,R>,P1,P2,P3,P4 are used on the CM13 4x5.

Brought to you by ZIRC BARS HOLIDAY SALE…how to order is found at the top of this thread:

http://bb.steelguitarforum.com/viewtopi ... 10#1871010

[ed packard]

The last post showed the CM13 Light (L<,L^,L>,R<,R>,P1,P2,P3,P4) chords as lookups by chord type and by string#. This time we will show the chord lookups by least change activations, and then chord type.

Here is an example of chord type and location lookup by chord type, and string # for single change activation.




The full set of these lists are found on the Photobucket site at the end (CM13 CHORDS):
http://s75.photobucket.com/albums/i287/ ... ?start=all

So far we have majored in chords falling out of the 7 tone structures/tuning/setups. Next post we will look at the available chord type treating the full tuning as a 4 tone single repetitive octave system like C6 or A6 would be. Yes, both ways, as well as Quart’ Cinc’ harmony, adjacent halftones, and other treatments are in the CM13 system.

[richard37066]

Ed -

I'll be brief.

Shirley underwent lung cancer surgery on the 8th. It's been a hectic time for the both of us. Managed to get her back home last Wednesday. It's a slow progression towards getting well.

Your #1 cheerleader hasn't forgotten you. Keep it coming.

Richard

[ed packard]

The activity on this FORUM thread does not appear to be very active, so why continue it? The answer is found on the PHOTOBUCKET site used to house the charts. PHOTOBUCKET has a section/function called “STATS” that shows the number of hits, and who is hitting. The number is usually in the hundreds per day, and from PSG players and other Forum members.

The next three charts have been up for some time but without a descriptive post. These Charts = 6,7,8 show the relationship between the chords caused by activation of a single change, and the strings as notes, and as intervals. These charts are a “different” way of showing chord content and location (as far as I know) = most information in the least space.

The chords list below the chart only shows the chord type etc. for the activation of a single activated change each. If I included those activated by two, three, four etc changes the list would be many times longer (would not fit), and the chord type count would also be extreme…so we will settle here for the single change activation lists.
CHART 6.

CHART 7.

CHART 8.

Charts 6 & 7 show the chord types tied to notes, and to intervals. Chart 8 shows a “moveable feast” of chord types in a form that allows moving them up and down the neck making any fret the I fret.

As usual, these and other related charts are found at the end of:
http://s75.photobucket.com/albums/i287/ ... ?start=all

The ZIRC BAR US$120 +S&H etc is continuing until at least Easter.

[ed packard]

The 69 or 6\9 necks and chords.

We started off this thread by showing the 13 series tuning structures. These provide 7 tone two octave arrangements for chords, and for whole necks. In these necks, each string can be the root of a 13th
series chord. The 4 types of 13th series chords shown were M13, 13, m13, and m13M7 = mM13. Each of these types were shown as available with any string as the root.

Then we showed how the 4 tone chord types using adjacent strings for adjacent chord intervals, again using each string as the chord root fit into the scheme. In the last post it was shown that using the 4 tone chords also provided the 9th interval as the 5th string/in the chord type, and that the string below the root string usually provided a 6th interval. The presence of the 9 and 6 indicate the likelihood of 69 chords being available., so this post will look into the presence and locations of 69 chords, or 6\9 chords as some will prefer.

One of the “goodnesses” of an E9 type tuning is that by invoking P1P2 an A neck can be added to the E neck…then by dropping the E’s on the E neck, the B neck can be had. This provides the I, IV, and V necks all on the same fret…using grips.

This is also possible on the CM13 structure as well, but without grips. Here are some of the available 69 chords in the CM13 tuning/setups. These are shown using the last shown pedal and lever assignments. You will notice that some of these require “two footing” as shown. The assignments may be changed to avoid “two footing”. I will leave you with the fun of figuring out how to make “one foot” assignments = puzzle of the week. all levers plus pedals 1,2,3,4 will remain as previously presented.

The object of the game is to get as many related 69 chords on the same fret (0) for as few invoked changes as possible…if these happen to be the I, IV, V 69s, so much the better. Here is the last published assignment list.



Here are some (8) possible 69 chords/necks using the existing assignment list:



Here are the 69 chords/necks with the least changes invoked…they include the I, IV, V 69 chords/necks…how convenient. See if you can configure the assignments to use P5,P6,P7,P8,and/or P9.


And of course, all this info and more is available at:

http://s75.photobucket.com/albums/i287/ ... ?start=all

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