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John Steele · From: Renfrew, Ontario, Canada

Great idea, b0b!
Here's a V-1 in D for E9th. I'll spell out all the chords as they move. I think Mr. Emmons had something to do with the cool chords. ~ means connect the chords.



  A7  A9 Asus Asusb9   D


5--5----------------|--------


6-----5--5(b)~~8~~~~|~~12(b)-


7-----5--5~~~~~8~~~~|~~12----


8-------------------|--------


9--5--5--5~~~~~8~~~~|~~12----


10------------------|--------

-John

[This message was edited by John Steele on 02-15-99]

[This message was edited by John Steele on 02-17-99]

John Hall · From: Arlington, TX, USA

A very neat little thingy. Thanks!
John

Jim Whitaker · From: Ohio, USA

does anyone have any more of these nice chord changes??

------------------
JIM
"73" MSA S10, "74" LTD 400, Profex II "55" Esquire, "63 Epiphone, "63" Precision,
"71" Jazz (The Bass)
REAL OLD STUFF

Jeff Lampert · From: queens, new york city

Within the context of the chord run and key, you could also call the 8th fret chord a Gm6, no?

Paul Graupp · From: Macon Ga USA

The 5th frett chord with the b pedal....isn't G-B-D a GM chord ? What is the bass line here ??? A>>A>>A>>A>>D ???

Could someone define a SUS chord in this context ??

Regards, Paul

John Steele · From: Renfrew, Ontario, Canada

Holy doodle... Someone dredged up an oldddd thread.
All these questions relate. It's all in the way you think. I've become a firm believer in calling a chord by it's root.
Some may disagree... that's ok

To answer the last comment first might be best. Paul, in my head I hear the bassist play the root (A) on the first and third chord... perhaps in octaves, according to taste.
As far as the rest of the band is concerned, it's just an A chord... dominant, of course. I typed out the passing chords for the purposes of the tab only; I wouldn't expect anyone to write a chart out explaining all the little passing chord things that might occur. Just A7... that's all.
Paul, yes, G,B and D form a G triad, and when you put what looks like a G triad over the root (A) you end up with a sus4 chord. In this context, and most, a sus4 chord calls for the exclusion of the third (C#) and the addition of the 4th (D). The G note is the 7th, and the B is the 9th. You could call it G/A if you wanted, but that's cumbersome... and in a chart also limits the players to one voicing of the sus chord.
Jeff, the same thing about the susb9 chord. You could call it Gm6/A if you wanted... but you might as well call it what it is... an A chord. Just my opinion.
Again, just mho, but I think it's OK to read a chart that calls for, say "CM7" and think to yourself "the top of this chord without the root looks just like an E minor triad"... but.. you wouldn't notate it "Em/C"... you'd call it CM7. At least I would

-John "there are no short answers" Steele

Paul Graupp · From: Macon Ga USA

Thanks John. I can see where you're coming from now and it makes sense. I think I've become accustomed to rootless chords where the bass is the root tone. That is why I was asking about the bass line. I always looked at a flatted 5th as rootless chord based on a whole tone higher. I recall something about a situation where, if you have the 3rd and a b7th from any scale, that scale name is the root tone even if you do not play it yourself. Different schools of musical training (thinking) but
I wasn't looking to fault your thinking. I like the exploration of these sort of chordal questions. I look at them as a sort of musical crossword puzzle and I really enjoy everyones viewpoint. Thank you for the clarification !!

Regards, Paul

Jim Whitaker · From: Ohio, USA

John I appreciate this forum & the way people work on here to make things correct.
I am fairly new at playing steel & its licks like these that will help me understand what I am playing & why!

Thanks!

Ps. if anyone has anymore of these I think they would be great for us new players as long as they aren't too complicated.

------------------
JIM
"73" MSA S10, "74" LTD 400, Profex II "55" Esquire, "63 Epiphone, "63" Precision,
"71" Jazz (The Bass)
REAL OLD STUFF

[This message was edited by Jim Whitaker on 15 April 2002 at 07:47 PM.]

Jeff Lampert · From: queens, new york city

I didn't realize how old this thread was. Egad. Thanks for the explanation John.

[This message was edited by Jeff Lampert on 14 April 2002 at 10:35 PM.]

John Steele · From: Renfrew, Ontario, Canada

Thanks for your interest, guys

Now, this has nothing to do with the above tab, but;

quote:

I recall something about a situation where, if you have the 3rd and a b7th from any scale, that scale name is the root tone even if you do not play it yourself.

True enough. And, for a man that likes jigsaw puzzles, you bring up a verrrrry interesting point.
So, you are the bass player. I play an F note, and a B note. Whatcha gonna play ? G, or Db ?

-John "sheesh, have I been here this long?" Steele

[This message was edited by John Steele on 14 April 2002 at 11:14 PM.]

Paul Graupp · From: Macon Ga USA

I hadn't looked at the date either but I have now. Heck, I'm not even that old !!

John, that's a good question and I don't know the correct answer. My problem comes when it falls into inversions. Is it a B or an F voicing ? I rely on the bass player to know the song and bass line. That gives me the freedom to play around the melody line and improvise. I think that is where the pedal steel guitar shines best. There are just so many changes that I doubt if anyone knows them all. That doesn't mean there are no rules for there surely are and if you play something wrong, you are the first to know it. It really sounds kooky !!

I use those rules even if I don't know the why and wherefores of them. I try to find the shapes and spacings on my guitar and the nowandthen accidents sometimes give me a pleasant surprize. I studied at Berklee for a while years back and they had puzzles like the tic-tac-toe setup. There would be a C in the lower left block; a C in the middle block and a C in the top right block. You had to fill in the chord members where C was the root or the third or the 5th tone. The blocks were designated major minor etc. It really got to be tough when they went to four member chords. I was in Europe then and playing trips took many hours so I would pass the time memorizing those blocks in the most common keys. Hence the crossword analogy.

Regards, Paul

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