Alternate tuning structures and ethno-music

[ed packard]

I don’t see any category for tunings, so I will put this under Pedal Steel.

The two main tuning structures in use today are some form of E7 (9), and C6 (B6)…in short a b7th based, and a 6th based tuning. Both have added the 9th. A6 (P1P2) can also claim a position in the hierarchy. Using the E9/B6 universal we can have the E neck(NC= the I neck), the A6 neck(P1P2 = the IV neck), and the B neck(L> = the V neck). That is convenient as most simple songs use the I, IV, V progression.

The next move is to get the VIm, IIm, and the IIIm structures. This is easy as IIm7 = C#m7 = E6 = P1…IVm7 = F#m7 = A6 = P1P2…and IIIm7 = G#m7 = B6 = L>. This gives us four tone chord roots on 6 of the 7 notes of the I scale…the seventh note four tone chord root can also be had…you solve for it.

I am using a universal structure to get rid of the middle D to allow for fewer skip grips, and put the four tone chords on adjacent strings in as many places as possible.

The A6 and B6 (IV6 and V6) chords are nice (any 6th will do that has the1,3,5,6,1,3,5,6 series of strings) because the inversions (which have uncommon names) are also on adjacent strings. The ability to change 6ths to b7ths , and the octaves to M7ths adds to our menu of desired chords for the more complex progressions using four tone chord structures. The ability to get the 7#5, and the m6b5 (dim7) chords makes our chord menu “fat”.

The “arch top” = Jazz box folk will appreciate this flexibility…there is more.

We will skip the five tone and up chords for now and limit the above illustration to emphasizing the four tone chord structure availability.

What is the point? = the more chord structures we have the more “types” of music we can play on the PSG.

Most PSG pickers are into “country”, Western Swing, Jazz etc.. There are a few like Al Vescovo and Bill Stafford that are into “orchestra” sounds. The least explored ethno music fields for PSG are the in the Latin vein such as Norteno, Afro-Cuban, Celtic, etc.

Optimizing tuning structures to best fit these styles could provide a larger pasture for musical grazing.

Any interest in exploring alternative setups?

[Ross Shafer]

Howdy Ed,

I'd love to explore new tunings....Once I feel confident in E9 world...(2.5 years in now), gimme another 20 years or so and I'll be all over some different tunings.

Kidding aside here's some nice latin stuff by Carlos Polidura. I haven't a clue what tuning he's got going, but his steel playing sounds mighty fine in this Latin groove.

Enjoy! http://www.youtube.com/watch?v=0AUIylX-zE0

[richard37066]

Ed -

I'll make a valiant attempt at my prime complaint at virtually ALL copedants.

As a long time jazz player, I enjoy the benefit of playing the same chord in the same inversion at more than one position on the neck while embracing a single octave.

I have really studied several dozen copedants in whatever flavor one chooses. Given the above, I find that I cannot achieve that which I desire as outlined. The best - generally speaking - that virtually all copedants are capable of is that of what I term the "chord fragment" - that is, three notes within a four or five note extended chord. Further, it is difficult, if not impossible at times, to find that same "chord fragment" anywhere on the neck and within the same octave. It goes, without saying, that if one has at their fingertips a 4, 5, or, even a 6-note chord then one can also select a fragment if so desired. I don't buy that lame argument that "the bass player will play the root so ya can forget about it". Where's the bass player when you're attempting a solo or virtuoso piece? Further, the so-called "universal" copedants suffer from the same maladies as an E9 or C6.

Worse yet, with those particular "fragments" locked into one position, it quite often requires large bar movements to access them.

I have been working on my personal copedant in which the above seems to be realizeable. Not surprisingly, I have graduated from a 10 to a 12 to a 14 string instrument so as to have ready access to all chords without having to indulge in outrageous gymnastics. It goes without saying that one of the necessary evils is that of unusual and spread-out "grips". For me, that is of no concern since my classic guitar training has lended itself to the use of four picks and wide "grips". It has been my observation that the average PSG player views the use of a fourth pick as anathema to all that they view as holy. That's their decision. If they develop a taste for the unusual or of a different genre then it becomes their cross to bear in a failed attempt at achieving it.

I think that I've illustrated the gross inertia inherent in the prevalent myopic vision of the PSG community.

Now, I realize that I've opened myself up to all manner of vitriolic comment and, even, charges of blasphemy but, if the truth be recognized, then recognized also are the limitations as imposed by the rather simplistic copedants and the three-pick "standard" which abound and which are regarded as unnassailable.

I've been spouting off as though my copedant - under construction - is the holy grail. Not so - yet. It has been undergoing tweaking of a semi-constant nature as I zero in on the ultimate. MY ultimate. I must emphasize that - MY ULTIMATE. Indulging in a little tit-for-tat with you, the only clue that I'll offer is the fact that all chords are composed primarily of major and minor third intervals. Build upon, and around, that and one can realize all manner of stock and extended chords in close proximity and in the same inversion. All of that with an eye toward keeping pedals and levers at a minimum.

I'm woikin' on it. We'll talk about it again in the future.

There's too damned many things to do and not enough time to do them in.

Richard

[ed packard]

Although there is much more to be covered on the subject, I am going to drop out for a while. The reason is that the time will be spent focusing on the Semiconductor pickup/position sensor/ADC/DSP project. The pickup and non contact position sensor are just about ready for prime time. The basic blocks for the ADC and DSP just fell into place.

The PHOTOBUCKET site(s) listed above will remain available…with periodic additions for those interested.

Hasta

Edp