ed packard
From:
Show Low AZ
|
Posted 29 Apr 1999 8:00 am |
|
Copyright 1999, Ed Packard; permission to use for non commercial purposes granted.
In Tunings VIII we will combine the I,IV,V necks, the BIG V neck, and the 13 series necks into one of several possible physical units.
Because we are extending these concepts to a two octave chord structure, and the ability to read sheet music directly onto the instrument, we will start with an attempt to show how all this "terminology" and "diagramming" fits together. We will also include a type of tablature that helps one learn to read music while it is being used.
CHART 8TBD1
This chart shows the relationship of musical
terms, diagrams, frequencies, and different
type of tablature that encourages learning
to read music:
........The treble cleff revealed:...........
1 2 3 4 5 6 7 8
Hz CM13 Dm13
Do C- 1 - - 1 - - I - - -1046 - - - - - - -
Ti B-14 ##13 VII 988 10/5
La A-13 - -13 - - VI- - - 880 - -8/5 - - -
So G 12 ##11/bb13 V 784 10/6
Fa F-11----11------IV------698----8/6--------
Mi E 10 b11 III 659 10/7
Re D--9-----9------II------587----8/7--------
Do C 8 bb9 I 523 10/8
Ti B--7-----7------VII-----493----8/8--------
La A 6 6/bb7 VI 440 10/9
So G--5-----5------V-------392----8/9--------
Fa F 4 #3\4 IV 349 10/10
Mi E--3-----3------III-----329----8/10-------
Re D 2 2/bb3 II 293 10/11
Do C- 1 - - 1 - - I - - - 261 - -8/11 - - -
Activated changes==> X XY6
- - - - = ledger lines
-------- = staff lines
Column 1 = Sol-fa, shown for the C major Scale.
Column 2 = Alphabetical names for the C major scale notes.
Column 3 = Two octave C scale intervals using Arabic numerals.
Column 4 = Two octave C scale intervals as used in chord types.
Column 5 = Classic symbols for Intervalic chord designators, key of C major.
Column 6 = Frequency(Hz)of fundamental vibration of the treble staff lines and spaces.
Column 7 = Fret/string for the 13 series CM13 chord on the IM13(X) musical neck.
Column 8 = Fret/string for the 13 series Dm13 chord on the Im13(XY6) musical neck.
Sorry that I do not have the G cleff sign to put at the front of the staff.
The frequencies given for the staff lines and spaces are not those for the strings that are usually played to get the staff notes, ..they are off by an octave, ..this seems to be common practice.
Colm 6 illustrates that the consecutive lines give a IM13 type chord if the scale root(I)is on a line; this means that if the tuning is a M13 tuning each string is a line note and each consecutive string is a consecutive odd scale interval, ..works for all keys.
Colm 7 illustrates that the consecutive spaces give a IIm13 chord if the scale root(I)is on a line; this means that if the tuning is a m13 tuning each space is a space note and each consecutive string is a consecutive even scale interval.
If the scale root is in a space, the spaces are a IM13 and the lines are a IIm13 chord.
Using the fraction approach wherein the top half is the fret # and the bottom half is the string # allows replacing the note symbol with the note location on the stringed fretted instrument; this is the real "music by the numbers" as the numbers are where the notes are on the sheet music, ..lead sheets with chords above are easy to mark up with this method as long as you know a bit about chord spelling and have a map of your instruments neck(s).
Let's look at a C major scale, harmonized in 3 tone chords, in sheet music symbology:
CHART 8TBD2
3 tone chordal harmoy for the C major scale:
C Dm Em F G Am Bmb5 C
G O
F---------------------------O---------
E O O
D------------------O--------O---------
C O O O
B----------O-------O--------O---------
A O O O
G--O-------O-------O------------------
F O O
E--O-------O--------------------------
D O
C -O -
Just treat the O's as notes; see how simple the pattern is? You can learn to recognize the pattern and its position in the scale (key) without half trying, ..it is easier than common tab to understand.
Now lets repeat the same thing but with the fret/string fractions replacing the o's(notes). We will use the 13 series tuning so that you can see how consecutive strings are consecutive intwervals in the chords.
CHART 8TBD3
3 tone chordal harmony of the C major scale
in fret/string for the 13 series tuning
structures:
C Dm Em F G Am Bmb5 C
G 10/6
F-------------------------------------8/6------
E 10/7 10/7
D--------------------------8/7--------8/7------
C 10/8 10/8 10/8
B--------------8/8---------8/8--------8/8------
A 10/9 10/9 10/9
G--8/9---------8/9---------8/9-----------------
F 10/10 10/10
E--8/10--------8/10---------------------------
D 10/11
C -8/11-
X XY6 X XY6 X XY6 X XY6
The X Change gives the IM13 tuning (CM13 is on the 8th fret, root is on string #11). Adding Y to X gives the b3(minor), ..adding 6 gives the b7 so that the net result is a Im13 tuning on fret 8, and a IIm13 chord on fret 10. How would you expand the pattern to using four tone chords for the harmony?, ..5 tone chords?
Notice that the preceeding chart can be further simplified by using only the string number to replace the note and placing the fret number near the chord name, or by the change indicator. This works well for PSG as most players avoid slants, hence only one fret number is required most of the time. Slants can be indicated by using the high and low fret #s. The result is that this tab takes up less lateral space, and it is easier to mark up existing fake books and lead sheets.
Next we can start combining the tunings and changes into one physical neck and assigning pedals and levers for the changes.
What do we have in mechanics to work with? There are certain physical parameters that limit what can be done in the making of an instrument of this type:
Neck length, is by tradition about 24" to 25".
Smallest string/highest note is 0.011"/A =
440Hz @ about 30 pounds tension.
Largest string commonly available is
0.080"/E = 41Hz @ about 18 pounds tension.
Changer mechanisms with three raises, and
three lowers per string, plus slaving.
Changer mechanism can raise and lower any
string by three halftones(6 total).
Room for about ten pedals and nine knee
levers.
Two feet, two knees, two hands, eight
fingers, two thumbs, two ears, two eyes, an
attachment to sit on, and an attachment to
think with;do not get these last two mixed up!
What do we have in musical parameters to work with?
A range of open string frequencies from
about 40Hz to 440Hz, string,tension, and
neck length limited.
Three plus octaves of open string pitch.
As many strings as needed to fill in the
desired notes for the three plus octaves.
What do we want to do with all this?
Arrange it in a way that will give us the
sonic patterns that we find pleasing, or in
some cases challenging.
Probably drive ourselves crazy.
Lets pick some musical goals for the next excercise:
The ability to have at least three tone
chords in each octave.
The ability to have one and two octave
tuning structures.
The ability to flat and sharp 3rds, 5ths,
and 7ths in one octave tuning structures.
The ability to flat and sharp 9ths, 11ths,
and 13ths in the second octave of the two
octave tuning structures.
The ability to run chromatic, hence any
other scales included in the 11/12 tone
based scales,on one fret by activating
changes.
The ability to harmonize common scales in
3rds, 5ths, 3 tone, 4 tone, 5tone, 6 tone,
and seven tone chords.
The availability of the common tunings such
as the 7th based and 6th based tunings like
E9,A6,B6,C6,etc.
The ability to morph through the common
chord progressions usings slides and changes
(as opposed to just steps).
What have we seen so far in this "tunings" thread?
That if we describe the setups in 14 string
configuration, we cover most of what can be
had within the mechanical, physical, and
musical limitations; it will be easier for
those that want less to reduce it to 12, 10
etc. than if they had to add it.
That including string #9 D in the E9 tuning
forces an interuption in the two octave
major scale sequence of odd and even
intervals, and the resulting chords.
That adding a string #12 C# opens up
available chords in both the one and two
octave structures in both 6th and 7th
based tunings.
Having considered all of the above, and more, let us lay out a setup that makes use of most of that info, and combines as much as possible into one physical neck. After that we will throw some rocks at it, and show some alternative possibilities.
Unfortunatly, our changer chart is too big to show in one piece, so we will break it up into sections.
CHART 8TBD4
The I69 base tuning and changes for the
I,IV,V, and 13 series musical necks shown as
halftones:
Clm#0 1 2 3 4 5 6 7 8 9 10 11
Cg# 0 1 2a 7/B 2 5 3 X Y Z 4 6
Change L< L^ L> P0 P1 P2 P3 P4 P9 R< R>
Str Note
1. F# +1
2. C# +1
3. G# -1 +1 -1
4. E +1 -1 +1
5. B +2 +2 -1
6. G# -1 +1 +1 +2
7. F# +1
8. E +1 -1 -1 -2
9. B +2 -1
10. G# -1 +1 -1
11. E +1 +1
12. C#
13. B -2 -2 +1
14. E +1
The Cg#'s shown are those that were used in the previous charts; now we are assigning them to Pedals and levers.
The notes shown in Clm#0 are those for fret 0 of the I69 base tuning, in this case we are using E69.
Maybe the best way to start on the above chart is to say what is not included:
The common P3 for E9 is not there, ..there are other ways to get those notes and that pedal was usurped for the 13 series. The s4 necks of the 13 series uses P2 so it is good for P3 to be next to P2 and P4.
Standard E9 P3 raised B and E to C# and F#; The lack of ability to raise E to F# eliminates a "unison" change for the F# notes. Many folk like the unison effect. It is applied to get F#, G#, and C# unisons. In the setup shown above, only the C# unison exists, and that is an accident as we are majoring in chord count.
An extension of the above chart allows all the mentioned unison notes; if L< goes to F# (F being a "halfstop")then we have the unison F# notes. If L^ goes to G# (G being a halfstop) then we have the G# unisons, ..this also provides the M7 chord group on the IV6(A6) neck. The jazz buffs tend to like the M7 chords, ..so do I, but I am not fond of halfstops as they are physically indefinite. One can adjust those changes for F and G, or F# and G# depending on their preference for M7's and unisons when needed, and adjust them back when desired if so inclined.
Another difference to some E9 setups is that the P1 P2 combo change more strings in the setup shown above. The object is to get a complete musical neck (IV6/A6). notice that we also have the root and fifth in the bass (str's 13 & 14) for bothe the I(E) and IV(A) musical necks. The addition of the C# as str 12 fills out the A6 lower register.
L> gives an EM7/9 as well as the B6 musical neck. L>P2 is the V7/B7 musical neck. No change, P1P2, and L> give the I,IV,V chords as musical necks. Those are our "level one" chords (remember that term from many charts ago?). Because all three of them can be made as 6th chords, we also have the "second level", or relative minor chords on the smae necks, ..I6=VIm7(E6=C#m7), IV6=IIm7(A6=F#m7), and V6=IIIm7(B6=G#m7). It is even better than that, ..I6=VIm7=IVM9(R); IV6=IIm7=VIIM9(R); V6=IIIm7=IM9(R); translation for the E69 base tuning and fret 0 is, E9=C#m7=AM9(R); A6=F#m7=DM9(R);
B6=G#m7=EM9(R).
P0 lowers the G#'s to G giving the Im69 chord/tuning/musical neck by lowering the 3rds to b3rds in the I chord.
R> lowers str 8(E) to D providing the b7 for the I chord, ..also the M7 if half activated. On the common E9 it would lower the str 2 D# to D, ..here we have str 2 as C#, so we will raise it to D.
R< lowers str 5&9 B's to Bb's; this gets the b5 interval on the I neck. Chords like I69b5, I7b5,I9b5,Im7b5,Im9b5 become available.
When R< is used with P1P2 it lowers the B's that were raised to C#'s back to a C, thus supplying the b3 for all the IV neck chords; Now we have A6,Am6,A7,Am7, and by adding the E to F change we have A6#5, Am6#5(you won't like those two),A7#5,Am7#5. If we activate our friend L> with the P1P2 group we can have A6b5,Am6b5,A7b5,Am7b5 as well for musical necks/tunings/chords. notice the diminished and half diminished chords in there, ..m6b5 and m7b5. If The unison G#'s had been used on L^, we could also have AM7 and AM7b5 in our fret 0 collection for the P1P2(IV neck)group.
Here is a partial "truth table" for the I neck; if you are using E69 as your base tuning, then the I is an E at fret 0, and would be a C on fret 8:
CHART 8TBD5
I neck Ixxx chords by change activation:
Clm# 0 1 2 3 4 5 6 7 8 9
Cg# 1 2a 7/B 2 5 3 X Y 4 6
Chang L< L^ L> P0 P1 P2 P3 P4 R< R>
Inter b2 b3 7 b3 6 4 ... ... b5 b7
Chord:
I69 .....................................
I69* ..............X......................
I69s4 ..................X..................
I69s4b5.............X...X............X.....
I69b5 ...............................X.....
I79 ...................................X.
I79s4 ..................X................X.
I79b5 ...............................X...X.
I79#5 ..............X................X...X.
I79s4#5.............X...X............X...X.
Im69 ..........X..........................
Im79 ..........X........................X.
Im69b5..........X....................X.....
Im79b5..........X....................X...X.
Im69#5..........X...X................X.....
Im79#5..........X...X................X...X.
More to come...
Some of these chords are physically impossible with the changes as assigned but possible via the Cg#'s, ..just re-assign to suit.
Some of the chords may not sound right, ..like xxs4b5, ms4, or 6#5, ..if you can't stand 'em don't use 'em, but realize that they are there.
We have included the 7 in the chord name of the I79, Im79 etc. as a convenience; just realize that the M9,9,69 chords contain a M7,7 or bb7(6)chord within them as do their minor(m)versions.
We have not included the effects of the BIG V changes on the I chord possibilities in the above list.
And now, a peek at the IV neck possibilities. If you are using E69 as your base tuning the IV is an A at fret 0, and an F at fret 8. For the A6 folk, we will use A as our designator:
CHART 8TBD6
Clm# 0 1 2 3 4 5 6 7 8 9
Cg# 1 2a 7/B 2 5 3 X Y 4 6
Chang L< L^ L> P0 P1 P2 P3 P4 R< R>
Inter #5 b7 b5 b7 3 1 ... ... b3 4
Chord:
A6 ................X...X................
A7 .....X..........X...X................
AM7 .....X*.........X...X................
Am6 ................X...X...........X....
Am7 .....X..........X...X...........X....
AmM7 .....X*.........X...X...........X....
A6#5 ..X.............X...X................
A7#5 ..X..X..........X...X................
AM7#5..X..X*.........X...X................
A6b5 .........X......X...X................
A7b5 .....X...X......X...X................
AM7b5.....X*..X......X...X................
Am6#5..X.............X...X...........X....
Am7#5..X..X..........X...X...........X....
AmM7#5.X..X*.........X...X...........X....
Am6b5.........X......X...X...........X....
Am7b5.....X...X......X...X...........X....
AmM7b5....X...X*.....X...X...........X....
The s4 group for the IV neck is via R>. It is a bit fragmented.
X* in the L^ colm indicates that that change is for a two halftone increase (a choice between 7 and M7 when activated).
If P2 is not activated, another form of the M7 is obtained.
Not activating P2 gives a form of A69 or A9 depending upon what else is activated.
In the intervals row, R< is given as b3; this is true if P1 is activated at the same time, otherwise it is a b2 or b9.
Again, we have not included the effect of the BIG V changes on the IV chord possibilities.
Next the V neck possibilities. We will revert to using the Roman numeral designator for the V necks:
CHART 8TBD7
This chart is a truth table for the I69 neck morphed into a number of V necks/chords/tunings by activating changes:
Clm#
Cg#0 1 2a 7/B 2 5 3 X Y 4 6
Chang L< L^ L> P0 P1 P2 P3 P4 R< R>
Inter b5 #5 3 #5 9 b7 ... ... 7 b3
Chord:
B6 ........X..............................
B7 ........X...........X..................
B69 ........X.......X......................
B79 ........X.......X...X..................
B69b5.X.............X......................
B79b5.X.............X...X..................
B79#5....X..X.......X...X..................
Remember that where there is a 79b5 there is a 7b5 also, and the 9 change can be left out. Same for #5 etc.
We may add some more, but this makes the point. See how many more you can find. The BIG V will supply a different look at the V necks.
the last three charts illustrate some of the I,IV,V necks and I,IV,V chord variations that are available in this type of tuning structure. I prefer the "chord type" charts as they provide more info and chord types for any given change activations. the above three charts show only for the "level 1" chords. They can be redone in terms of the "level 2" chords(relative minors)and their variations(C#mxx,F#mxx, and G#mxx).
Do we dare look at the 13 series in the same manner? After we look at the BIG V necks.
Now for the other half of the chart in the same format.
CHART 8TBD8
The I69 base tuning and changes for the BIG
V musical neck shown as halftones:
Clm#0 1 2 3 4 5 6 7 8 9
Cg# 0 B/7 h 9 d C# E G# 4 6
Change L> L2< L2> P5 P6 P7 P8 R< R>
Str Note
1. F# +1 -1
2. C# -1 +1
3. G#
4. E -1 -2 +1
5. B +2 +1 -1
6. G# +2
7. F# +1 -1
8. E -1 -2 +1 -2
9. B +1 -1
10. G# -1
11. E +1 -1
12. C# -1
13. B -3
14. E -1 -1
May have transcribed some errors, let me know if you find any, ..will clean up as we go. Some repetition from the previous chart, ..to be explained as we go.
Different players like to play the integrated 6th and 7th based necks in different ways; Those that come from the double ten E9/C6 like to get the D on string 9 by raising the B on string 10 to a D. This maintains their "grips" that they became used to on the E9. Others like to lower the string 8 E to a D, ..we have chosen the latter because the former is not compatible with the 13 series chord structures, ..we have traded a couple of "Grips" for a "chord system". There is no reason other than available pedals and levers that both ways can not exist at the same time. In a following section on "alternative setups" we will give back the standard E9 strings.
Some pickers from the double ten background also like to use the B6 neck as a separate entity. To do this the change that lowers the string 4 & 8 E's to D#'s is made so that it can be "locked" in.
Our setup allows using the instrument in either mode as there is a lock capability on L>. This allows moving the left leg to activate L2< and L2> and make it easier to get to the BIG B6 (like C6) pedals easier than when the instrument is played as one inseparable musical neck.
One common C6 change is to the F9 chord; on B6 that is to the E9 chord. When locked into B6 we will need to overcome the locked in change to get back to the E69 base tuning; this is done via P7. The 79 change that was on P7 of the common C6 is moved to L2< on this setup and is available for use with any pedal(s) chosen.
P5 gives the b3 and P6 gives the b5 for the B6/C6 neck. Because it already has a 6th(bb7), the result is a very large cluster of strings with the m6b5 or dim7 chord.
P8 still gives the "Boo-wah" or "Do-wah" chord, ..G#7 is the B6 equivalent of the C6 A7.
The D7 chord change in C6 is the C# chord change in B6, ..this is part of the job of our P6 change.
One of the common C6 changes that we have not included in this setup is the C6 P4 (not the Paul Franklin C6 P4 which is also not included at this point).
One of the common E9 changes that has been left out is P3 tha provides F# and C# on the same pedal. These are available in other ways, and it allows P3 and P4 to be used together for the 13 series. When P3 is used with P2 we get the 13 series s4 chord groups.
The I,IV,V neck changes are of the "one interval per activated change" type, ..the 13 series is of the "one chord system per activated change" type, ..The BIG V neck is of the "one chord per activated change" type(mostly); these are three different and complementary approaches to the use of changes. The single interval changes can be combined with the other two types for further alterations of a chosen chord.
CHART 8TBD9
Clm# 0 1 2 3 4 5 6 7
CG# B/7 B/7 Bh Bd BC# BdC# BG# BG#h
Chan L> L> L>L2< L>P5 L>P6 L>P5P6 L>P8 L>P8L2<
Fret 0 1 1 1 1 1 1 1
Str Note NoteNote Note Note Note Note Note
1. F# G G G Gb Gb G G
2. C# D D D D D C# C#
3. G# A A A A A A A
4. D# E E Eb E Eb E E
5. B C D C C C C# D
6. G# A B A A A A B
7. F# G G G Gb Gb G G
8. D# E E Eb E Eb E E
9. B C C C C C C# C#
10. G# A A A A A A A
11. E F F F Gb Gb E E
12. C# D D D D D C# C#
13. B C C C C C A A
14. E F F F E E E E
The above chart is shown with the B/7 Cg# activated which converts the E69 base tuning to the tuning called B6; please note that it is not just a B6 tuning. It is really several tunings in one even without adding other changes.
In Clm#1:
Notice that the two bottom strings are the root and 5th of the F chord.
Notice that strings:
12,11,10 are D,F,A = Dmin;
12,11,10,9 are D,F,A,C = Dmin7;
12,11,10,9,8 are D,F,A,C,E = Dmin9;
12,11,10,9,8,7 are D,F,A,C,E,G = Dmin11;
11,10,9 are F,A,C = Fmaj;
11,10,9,8 are F,A,C,E = FM7;
11,10,9,8,7 are F,A,C,E,G = FM9;
10,9,8, are A,C,E = Am;
10,9,8,7 are A,C,E,G = Am7;
9,8,7 are C,E,G = Cmaj;
9,8,7,6 are C,E,G,A = C6;
8,7,6,5 are E,G,A,C = C6 and Am7 inversions;
7,6,5,4 are G,A,C,E = C6 and Am7 inversions;
6,5,4 are A,C,E = Am;
6,5,4,1 are C,E,G,A = C6, and Am7 inversion;
From the above we can see that:
Am = FM7(R);
Am7 = FM9(R);
FM7 = Dm9(R);
FM9 = Dm11(R);
C = Am7(R);
And so forth, ..the beginning of "substitution" chords.
The remaining Clm's show the fret 1 Notes for other activated changes common to the C6 tuning. Most of these are more oriented toward the single chord one octave structure than to the multi chord or seven tone two octave tuning/chord/neck structures. See what chords you get for the various activations starting with each string as root.
If we had chosen the common C,E,G,A form of the "C6" tuning, all this flexibility would not be available, and it would not as conveniently morph from the E69 (or E9) base tuning on fret 0.
Lets add Cg#h to the activated B/7 change and see how it changes the available chords(see Clm#2)
12,11,10,9,8,7,6 are now D,F,A,C,E,G,B = Dm13;
11,10,9,8,7,6,5 are now F,A,C,E,G,B,D = FM13#11;
10,9,8,7,6,5, are now A,C,E,G,B,D = Am11;
9,8,7,6, are now C,E,G,B = CM7;
9,8,7,6,5 are now C,E,G,B,D = CM9;
8,7,6 are now E,G,B = Em;
8,7,6,5, are now E,G,B,D = Em7;
7,6,5 are now G,B,D = G;
7,6,5,4 are now G,B,D,E = G6 = Em7 inversion;
7,6,5,4,3 are now G,B,D,E,A = G69;
Not too shabby a set of chords, all with roots and notes in the C scale, and all in logical locations on the same fret with respect to the C scale. This would not happen with the common "C6" tuning nor would it conveniently be morphable from the E69(or E9) base tuning.
Before we get too far into the BIG V necks, lets see if we can construct a truth table for quick lookup purposes. This table will need identifier columns for chords without roots, and other than root inversions; it will need a lowest string identifier column. This is assuming that sequential strings are used, if not, then some way to identify the skipped strings.
For the "non-nerds", ..this is a good chance to start learning spreadsheet methods. Laying this out on a spreadsheet will let you sort it in any desired way at the push of a button or click of a mouse.
CHART 8TBD10
Fret 1 chords vs activated changes for
morphings of an E69 base tuning using C6 type changes(partial):
Clm#0 1 2 3 4 5 6 7 8 9
Cg# B h 9 d C# E G#
Change L> L2< L2> P5 P6 P7 P8
Chord R/i S#
Dm R 12 X
Dm7 R 12 X
Dm9 R 12 X
Dm11 R 12 X
Dm13 R 12 X X
F R 11 X
FM7 R 11 X
Dm11 (R) 11 X also Dm,Dm7,Dm9
Dm13 (R) 11 X X also Dm,Dm7,Dm9,Dm11
FM9 R 11 X
FM13#11R 11 X X
Am R 10 X
FM7 (R) 10 X
Am7 R 10 X
FM9 (R) 10 X
Am9 R 10 X X
Am11 R 10 X X
Am7 i 8 X
Am7 i 7 X
Am7 i 6 X
C R 9 X
Am7 (R) 9 X
C6 R 9 X
CM7 R 9 X X
CM9 R 9 X X
Em R 8 X X
Em7 R 8 X X
C6 i 8 X
G R 7 X X
G6 R 7 X X
G69 R 7 X X
Em7 i 7 X X
C6 i 7 X
C6 R 6 X
Using this format and the data in CHART 8TBD9 you can fill in the rest of this chart and expand it to suit.
OK, now you see how it can be done, ..the i stands for inversion other than root inversion, ..the R indicates that the S# is the root, ..the (R) indicates that the root is missing, ..the S# tells the lowest string in the sequence, ..and the X indicates the changes activated.
The Cg#'s are related to the chord that they would give on fret 0(B6), not the fret 1(C6) chords. C6 players would think of the Boo-wah effect(P as A7, not the G#7(in B6) as shown.
Once you get your spreadsheet set up you can sort in the order of strings, ..the order by chord name, ..the order by activated change(s), ..missing roots, ..inversions, ..etc.
You might want to use a number in Clm# 1 to indicate which inversion is present.
The chord names given in the last chart are for fret 1 of the morphed E69 base tuning; this puts it in terms of a C6 tuning. It should be apparent that the chord types can be separated from the chord designators and that that chord type will be the same on any fret for the same string group. In your spreadsheet, you might want to use a separate column for types and designators (either alphas for notes, or numerals for intervalic identification).
Now for some real fun before we enter the home stretch; The following chart will show how Chords can be calculated by using the halftone method.
CHART 8TBD11
Clm# 0 1
Cg# BG#h
Chng L>P8L2<
Fret 1 str to str
Str Note h'tones
2. C# -
3. A 2
1. G 3
4. E 2
5. D 3
6. B 4
7. G 3 G,B,D,E = 432 = 6
8. E 3 E,G,B,D = 343 = m7
9. C# 4 C#,E,G,B = 334 = m7b5 = 1/2 dim7
10. A 5 A,C#,E,G = 433 = 7
11. E 3
12. C# 4
13. A 5 A,C#,E = 43 = maj
14. E 0
Each number in Clm#1 is the number of halftones between the string that it is on and the string below it; Str 13 = A which is 5 halftones above the str 14 E(F,F#,G,G#,A), ..etc.
13,12,11 are A,C#,E = an A maj triad chord, ..halftone signature = 43, ..4 htones from A to C#, and 3 htones from C# to E gives 43 = a maj triad chord type(forget the designator as this method is not designator dependent.
10,9,8,7 are A,C#,E,G = an A7 chord, ..htone signature is 433 = a 7th chord type.
8,7,6 are E,G,B = an Em chord, ..htone signature is 34 = a min chord type.
Skip string chords are calculated by adding the values for the skipped string(s).
An alternative, and perhaps easier to understand presentation of the same method is to place the numbers one line lower so that the first number is on the string of the first note in the sequence; the number now means the quantity of halftones betwee that string (note) and the one on the next string up.
This simple system allows calculating chord types, and intervals in both one octave and two octave systems. More about this method later as it is the key to computer spreadsheet solutions to the PSG.
From the above and previous post information you have enough methods and illustrations to provide a way to "liberate" your thinking re tunings and "canned" approaches to the PSG. There is much more that can be done with this type of information, and you may be the person to do it and to present it.
Having presented this "stuff" in a rather undiciplined and informal way in the tunings posts thru VIII, we will now move on to Tunings IX, and proceed to become even more chaotic.
[This message was edited by ed packard on 05-25-99] |
|
