E9 Minor Chord Positions

Lawrence Lupkin · From: Brooklyn, New York, USA

I'm looking to form minor chords at different spots on the neck. Just general rule of thumb positions to hit, especially if I'm in a bind. I've done a search on the forum, but have come up empty. Anybody remember any good posts?

Thanks in advance

David L. Donald · From: Koh Samui Island, Thailand

Dm
pedal A, fret 1
strings 3,4,5,6, 8 & 10

Eb (D)lever, fret 6, same strings

pedals BC, fret 8, strings 3,4,5,6

Fresh from the Mel Bay / Scotty Chord chart
Extrapolate from these. You can get the chart from Scotty music too. Very useful.

[This message was edited by David L. Donald on 17 April 2003 at 09:26 AM.]

Bob Farlow · From: Marietta,GA,

Depends on your pedal/lever setup.
Check out these two links:
http://home.attbi.com/~kabolins/guitarmap.html
http://steelguitarforum.com/Forum4/HTML/002744.html

Lawrence Lupkin · From: Brooklyn, New York, USA

I have the Emmons ABC set up. LKL raises the Es, RKL lowers the Es, RKR lowers the second string D# to D. Thanks for that chart link. I think I'll have to wait unil I'm on PC as it doesn't appear to work with Mac.

Joey Ace · From: Hamilton, Ontario, Canada

To restate David's above post in different words:

Learn what is meant my a "Relative Minor", such as "Am is the relative minor in the key of C". It's the 6th degree of the major scale. Look up some music theory if necessary.

Then, whenever you are at a major chord, no pedals, such as F - first fret, the relative minor is the same fret with the A Pedal down. Example: F Major is at fret 1, no pedals. Press the A pedal and you have Dm.

If you are playing a major chord with the AB pedals down, the relative minor is two frets lower with the E's lowered. Example: F Major at fret 8, AB down, then Dm is at fret 6 with the Es lowered.

Next, we'll talk about the "2 minor". In the key of C the "2 minor" is Dm. It's easily found by being at the "No Pedals" position for the "one chord" and pressing BC pedals. Example: C Major is at fret 8, no pedals. Press BC and you have Dm.

I made these examples to match David's examples. Compare the two posts.

C Dixon · From: Duluth, GA USA

When you say E minor, I am assuming you mean that the 6th (and possibly the 3rd) string is being lowered to a G note.

Based on this assumption, I would offer the following suggestions:

You would have any given fret's minor chord (instead of that fret's major chord) as you probably already know.

Now how to use them? Ok, Two frets up from any fret you have the relative minor chord to the 4 chord. IE, at fret 10 you would have Dmin which is relative to the F chord, which is the 4 chord in the key of C.

If you move two more frets up to fret 12, you would have the relative minor (Eminor) to the V chord (G).

Now if you want the relative minor to the I (C) chord, you would find this at fret 5. Or 3 frets down from the I chord.

To summarize:

1. Three frets down from the I chord is the I chord relative minor.

2. Two frets up from the I chord is the 4 chord relative minor.

3. 4 frets up from the I chord is the 5 chord relative minor.

If you did not already know it, there are 3 relative minor chords to any major Key. IE, key of C you have:

1. C = Amin

2. F = Dmin

3. G = Emin

The great thing about this minor chord inversion is it completes the final inversion of any major or minor chord on any 3 consecutive strings (3, 4, 5, 6, 8 and 10).

Ever since LG gave us the F lever, we have had the three inversions of a major chord. And we had two of the minor inversions. But we never had the 3rd inversion ,UNLESS one used the B and C pedals. Which of course required one to change their foot position.

With the "subject" minor inversion, we now can obtain any major or any minor inversion using just the A and/or B pedals and various combinations of the E and F knee levers if needs be.

I personally use it all the time. I would not want to play a PSG without lowering at least the 6th string to a G (I do it by splitting). In the future I will be lowering string 3 to a G as well, which will then totally complete what I feel music calls for with respect to major and minor chords.

Hope this helps, and may Jesus bless you in your quests,

carl

[This message was edited by C Dixon on 17 April 2003 at 10:29 AM.]

Pete Burak · From: Portland, OR USA

I too like having the abilty to get the minor from the open or A+B postion easily (I came to steel from a guitar playing background, and didn't want to loose the engrained chordal relationships).

So from any open chord (E9th) I drop G#'s to G on Pedal 0 (to the left of the A pedal) to get the minor of that chord, and from the A+B position, I add LKV (B's to Bb's, split tuned) to get the minor of that chord.

I don't like the sound of the B+C minor inversion (maybe it's just the timbre of strings 4 and 5 being raised a whole tone, I don't know?) so I don't use it much for minors (plenty of other cool E9th stuff to be had with B+C).
I do like the sound of the A pedal minor chord position (same type of thing as above, A+F on the 3rd fret is E, release the F lever for E minor, or release the A pedal for E7th).

FWIW... we're basically playing a "Chord Inversion Machine" (maybe apparatus would be a better term?... contraption?... instrument).
Cool!

Robert Henderson · From: Nashville, Tennessee, USA

David, Joey and Bob,

Robert Henderson · From: Nashville, Tennessee, USA

Oooppppsss! Great stuff....newbies like me really appreciate shared experience! Thanks to all...

Buck Dilly · From: Branchville, NJ, USA * R.I.P.

Another very full minor chord is:
Strings 10, 9, 7 and 5 w/ no pedals. You can add pedal B on string 6 for a minor 7. This is a strong minor chord with the root on bottom.

[This message was edited by Buck Dilly on 17 April 2003 at 12:57 PM.]

Bobby Lee · From: Cloverdale, California, USA

Lawrence, you might find my E9 Theory Page useful.

------------------

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),
Roland Handsonic, Line 6 Variax

David L. Donald · From: Koh Samui Island, Thailand

I'm a newbie too, but I had the chart right here, so I gave it too you. At least you were going a notch faster for it.

All these guys are very helpfull, with extra thanks to Bobby Lee for making it all possible.

[This message was edited by David L. Donald on 18 April 2003 at 03:16 PM.]

Joey Ace · From: Hamilton, Ontario, Canada

Drew Howard · From: 48854

A minor in five positions



1-------------------10----


2-------------------10L---


3-----------5L------------


4--1L--3C---5---8---10----


5--1---3C---5---8A--------


6--1---3B---5L--8---------


7------3------------10----


8--1L-------5---8A--------


9-------------------10----


10-1--------5---8A--10----

[This message was edited by Drew Howard on 17 April 2003 at 07:44 PM.]

Jim Palenscar · From: Oceanside, Calif, USA

add the 6th combo at the 12th fret with AB and the Bb lever split thrown in as Pete said~ it is really interesting to me how many combos there are and how few I really put to use

Lawrence Lupkin · From: Brooklyn, New York, USA

Thank you all for your responses. I've gotten exactly what I needed. You guys are great!

George McLellan · From: Duluth, MN USA

I also use ½A pedal with B pedal, ie: playing A&B down and releasing A pedal ½ way. This gives for example 8th fret A&B=F, releasing ½A while holding B down = Fmi.

It will give your ear a good test for accuracy.

------------------
SUAS U' PHIOB
Geo

Jim Eaton · From: Santa Susana, Ca

8th fret w/AB = F
9th fret w/Eb-kl = Fm
JE:-)>

Bengt Erlandsen · From: Brekstad, NORWAY

All the Aminor chords I might choose from.
There are a couple more places to find it if you have
G#-A# on 6th string but it is not shown here.
Several different positions to choose from depending
on which chord you came from and where you want to go.
No inversions shown, only chords in form Root b3rd 5th.



 


F#----------------------------------------------


Eb---------1------------------------------------


G#----------------------------------------------


E --0---1L--------------------------------------


B --0A*-1--1--3A---4A*--5---5-------------------


G#--0B--1--1--3B---4----5L------7B--8---8-------


F#------------3-------------5R--------------10--


E -----------------4R---5---5---7R--8---8-------


D ------------------------------7---8L------10--


B --------------------------------------8A--10--


 


 


F#------------10--------------------------------


Eb---8LL------10L-------------13----------------


G#---8----8-------------------------------------


E ---8----8--------12----13L--------------------


B --------8A--10---12A*--13---13----------------


G#-----------------12B---13---13----------------


F#----------------------------------------------


E ----------------------------------------------


D ----------------------------------------------


B ----------------------------------------------


 


 


Note A* = halfpedal or split

To get the big picture, relate all positions relative to all Cmajor chords you know.
And afterwards relate all positions relative to all Fmajor chords you know.

Bengt

And of course relate them to all the Amajor chords positions you know (the midlle note will be played a halfnote higher(1 fret up))

[This message was edited by Bengt Erlandsen on 19 April 2003 at 12:35 PM.]

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