PST 13 series

ed packard · From: Show Low AZ

The PST 13 SERIES simplified: Someone asked, in another thread, for a simple explanation…..I will try.

The 13 series name is because the structure provides the M13, 13, m13, and the 13s4 chords on the same strings by using PX,PY,R>, and P2.

The 13 series is integrated into a basic 14 string E9/B6 uni configuration that has a low E on the bottom, a C# for string 12, and the top strings in the C6 order. The P1P2 changes are per E9. L< is E to F, L> is E to D#, R< is B to Bb, R> is E to D and C# to D. L^ takes F#s to G to give a 7th chord on the IV neck (P1P2 activated).

The standard P3 (C#F#) is sacrificed…it does not have to be…the sacrifice is to get the M13s4, 13s4, series of intervals by combining P3&P2.

The 13 series makes available 7 sequential and adjacent intervals on adjacent strings; think in C and P3 gives C,E,G,B,D,F,A = CM13. This C would be on string 11 at fret 8 for the E9 basic open tuning/neck. The remaining strings would give C,F,A,C,E,G,B,D,F,A,C,D,E,A. You can see how many 3,4,5,6 and 7 tone chords are found within this series of notes...use any string as a root. With two exceptions, these are the line notes of the treble staff = read sheet music directly onto the PSG strings.

If we flat the 3rd (P4) we get Cm13M7, and all included chords.

If we then flat the 7th ( R>)we get Cm13, and all included chords.

What about the space note = D,F,A,C,E,G,B. This spells Dm13. We had a Im13 by activating P3P4R>. Move it up two frets and we have Dm13 = IIm13 and all included chords = space notes.

If the root note for the 13 series chord is on a line (sheet music), all of the chord intervals are on a line…if the root is in a space, all of the chord intervals are in the spaces.

The IM13 and IIm13 intervals (strings) provide all the chords for scalar harmony of the Imaj scale = (in four tone chords for the key of C) CM7, Dm7, Em7, FM7, G7, Am7, Bm7b5, etc., and all within two frets and on adjacent strings.

There is much more that is just as logical.

Release P3 et al and resolve back to the E69 like structure/tuning. Use L>, or the LOK, and get the full C6 structure/tuning as a B6.

In the TESTING section of the Forum, Nov. 22, by Charlie McDonald, Charlie has collected a “short” list of the available chords re the 13 SERIES, and the P1P2 set. The E9 and big C6/B6 chords are not included.

Below are the changes for my 30” scale instrument (the BEAST) tuned to C69. The BIG C6/B6…G6 in this case, changes are not shown.

PSTL C69 WITH THE 13TH SERIES CHANGES…G6 NOT SHOWN:

STR	INTS	NOTES	L<	L^	L>,LK	P1	P2	P3	P4	R<	R>


											


1	6-13	A									A#-Bb


2	3-b11	E					F		D#-Eb		


3	2-9	D		D#-Eb							


4	1-#7	C	C#-Db		B						


5	5-bb13	G				A		A		F#-Gb	


6	3-b11	E					F	F			


7	2-9	D		D#-Eb							


8	1-#7	C	C#-Db		B			B			A#-Bb


9	5-bb13	G				A				F#-Gb	


10	3-b11	E					F		D#-Eb		


11	1-#7	C	C#-Db								


12	6-13	A								G#-Ab	A#-Bb


13	5-bb13	G					F	F			


14	1-#7	C

The above chart shows how the 13 series is integrated into a I/V universal setup. The BIG V6 changes are not shown, but are the same pedals and levers as for the C6/B6 changes +/-. That chart shows HOW to make the 13 series from the E9 like universal structure...now we need to see WHAT we have made. The chord charts are one way...another way is shown below.

The 13 series has so far been viewed as a I neck. In a seven tone two octave environment, any note/string may become the root. This next chart shows the notes with string 11 being the root...ala the I neck. The top strings are in the C6 like order.

	I NECK	IV NECK	V NECK						


 	 NC	P1P2	L>	P3	P3R>	P3P4	P3P4R>	P3P2	P3R>P2


STR	C69	F6	G6	CM13	C13	Cm13M7	Cm13	CM13s4	CM13s4


1	A	A	A	A	Bb	A	Bb	A	Bb


2	E	F	E	E	E	Eb	Eb	F	F


3	D	D	D	D	D	D	D	D	D


4	C	C	B	C	C	C	C	C	C


									


5	G	A	G	A	A	A	A	A	A


6	E	F	E	F	F	F	F	F	F


7	D	D	D	D	D	D	D	D	D


8	C	C	B	B	Bb	B	Bb	B	Bb


9	G	A	G	G	G	G	G	G	G


10	E	F	E	E	E	Eb	Eb	F	F


11	C	C	C	C	C	C	C	C	C


									


12	A	A	A	A	Bb	A	Bb	A	Bb


13	G	F	G	F	F	F	F	F	F


14	C	C	C	C	C	C	C	C	C

The following chart uses string 13 as the root...ala the IV neck. I have swapped strings 2&3 to show an alternative approach to the top strings. They can also be set up like to "old" E13 tuning, or as per the E9 standard with either the C# or D# as string 2...matter of taste. Notice the migration pattern via adjacent pedals and levers to the I/IV/V basic necks...nothing lost.

									


	I NECK	IV NECK	V NECK						


	 NC	P1P2	L>	P3	P3R>	P3P4	P3P4R>	P3P2	P3R>P2


STR	C69	F6	G6	FM13#11	FM13s4	F13	F13s4	F13#7	F13s4#7


1	A	A	A	A	Bb	A	Bb	A	Bb


3	D	D	D	D	D	D	D	D	D


2	E	F	E	E	E	Eb	Eb	F	F


4	C	C	B	C	C	C	C	C	C


5	G	A	G	A	A	A	A	A	A


6	E	F	E	F	F	F	F	F	F


									


7	D	D	D	D	D	D	D	D	D


8	C	C	B	B	Bb	B	Bb	B	Bb


9	G	A	G	G	G	G	G	G	G


10	E	F	E	E	E	Eb	Eb	F	F


11	C	C	C	C	C	C	C	C	C


12	A	A	A	A	Bb	A	Bb	A	Bb


13	G	F	G	F	F	F	F	F	F


									


14	C	C	C	C	C	C	C	C	C

Now for a chart using string 9 as the root note...ala the V neck.

				


	I NECK	IV NECK	V NECK						


 	 NC	P1P2	L>	P3	P3R>	P3P4	P3P4R>	P3P2	P3R>P2


STR	C69	F6	G6	G13	Gm13	G11b13	Gm11b13	G11#13	G11#13


1	A	A	A	A	Bb	A	Bb	A	Bb


3	D	D	D	D	D	D	D	D	D


									


2	E	F	E	E	E	Eb	Eb	F	F


4	C	C	B	C	C	C	C	C	C


5	G	A	G	A	A	A	A	A	A


6	E	F	E	F	F	F	F	F	F


7	D	D	D	D	D	D	D	D	D


8	C	C	B	B	Bb	B	Bb	B	Bb


9	G	A	G	G	G	G	G	G	G


									


10	E	F	E	E	E	Eb	Eb	F	F


11	C	C	C	C	C	C	C	C	C


12	A	A	A	A	Bb	A	Bb	A	Bb


13	G	F	G	F	F	F	F	F	F


14	C	C	C	C	C	C	C	C	C

I leave it to you to look at other strings as the root. You can have the relative minors for the I,IV,V necks as the roots. Look also for the "tritones" available, and for the 2s,4s,and 6s available for the bass lines (along with the chords).

Much more...this thing is endless. And just for those that would like to morph from one chord to another using adjacent notes, try these forward and backward slants in the 13 series. You can do the excercise for other 13 series change combinations. Notice that in this post the leversw (except R>)have not been invoked...more homework for the reader!

P3						


FRET >	N-2	N-1	N	N+1	N+2	N+3


						


1	G		A		B	C


2	D		E	F		G


3	C		D		E	F


4		B	C		D	


5	G		A		B	C


6		E	F		G	


7	C		D		E	F


8	A		B	C		D


9	F		G		A	


10	D		E	F		G


11		B	C		D	


12	G		A		B	C


13		E	F		G	


14		B	C		D	


						


						


P3R>						


FRET >	N-2	N-1	N	N+1	N+2	N+3


						


1		A		B	C	


2	D		E	F		G


3	C		D		E	F


4		B	C		D	


5	G		A		B	C


6		E	F		G	


7	C		D		E	F


8		A		B	C	


9	F		G		A	


10	D		E	F		G


11		B	C		D	


12		A		B	C	


13		E	F		G	


14		B	C		D	


						


						


P3P4						


FRET >	N-2	N-1	N	N+1	N+2	N+3


						


1	G		A		B	C


2		D		E	F	


3	C		D		E	F


4		B	C		D	


5	G		A		B	C


6		E	F		G	


7	C		D		E	F


8	A		B	C		D


9	F		G		A	


10		D		E	F	


11		B	C		D	


12	G		A		B	C


13		E	F		G	


14		B	C		D	


						


						


P3P4R>						


FRET >	N-2	N-1	N	N+1	N+2	N+3


						


1		A		B	C	


2		D		E	F	


3	C		D		E	F


4		B	C		D	


5	G		A		B	C


6		E	F		G	


7	C		D		E	F


8		A		B	C	


9	F		G		A	


10		D		E	F	


11		B	C		D	


12		A		B	C	


13		E	F		G	


14		B	C		D

[This message was edited by ed packard on 17 December 2005 at 10:04 AM.]

Charlie McDonald · From: out of the blue

The tables can be found at http://steelguitarforum.com/Forum5/HTML/011355.html

Charlie McDonald · From: out of the blue

If you haven't seen THE BEAST, you should take a look at the height of steel technology. http://sierrasteels.com/pages/index2.html
Link on picture right side of page.

David Doggett · Posted 17 Dec 2005 12:26 am

Unh...see my comments on this in the "Charlie MacDonald's actual idea" thread.

Charlie McDonald · From: out of the blue

Not all systems of thought are universal.
Occasionally one stands out to me; this one is my idea of a really good universal.
I can't say that I use set grips; thus PST allows me to visualize them as I would at the piano, where the idea is to choose, within a range of notes, the voicing that best fits the piece.

In trying to set up an S12U to try this concept out, I am allowed a 'lick' pedal, pedal O. Pedals A & C are combined--a Buddy Day setup, perhaps--and I think PX, PY, the 'D' lever (moved to L> to accommodate the right shift in pedals) will work as a test bed. Doubtless, an S14 4x5 would work better, but that will have to wait.
See if this doesn't answer the criteria for PST.

I can only congratulate you on your logical approach to the instrument. I see a future in it. But not everyone can see the future as well as I. (Ok, eveybody, throw the rocks, cans, and brickbats. They're virtual, I can take it.)

ed packard · From: Show Low AZ

Further explanation (charts) have been added to the opening post. There are many ways to look at the 13 series.

Charlie McDonald · From: out of the blue

A good new look at the breakdown of chords.
David Donald promotes the view of the 'aircraft carrier' of strings as different sections.
I think I have a solution that doesn't mess with PST after looking more deeply into it.
Really looking forward to trying it out.

Charlie McDonald · From: out of the blue

"The simple is seldom the obvious 'til it has been seen!"

I'm going to put that on the wall of my studio.
When I get it figured out, I think I'll know the meaning of life.

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

Not sure if I mentioned Aircraft Carrier metaphor,
but the 14 string sometimes feels like the Serrengheti Plains to me.
Merrry Christmas y'all.

.

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