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Author
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Topic: 12 or 14 strings?!
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Charlie McDonald
Member From: Lubbock, Texas, USA
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posted 04 November 2005 10:57 AM
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It has been suggested to me that this is a good topic for a new thread.
My reason might be 'more strings!' but apparently that's not the whole story.Opinions and experience from all on 12- vs. 14-stringed guitars? |
Billy Carr
Member From: Seminary, Mississippi USA
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posted 04 November 2005 02:02 PM
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Hello Charlie, my main reason for playing a S-12U is quiet simple. Lightweight and everythings there that a person has on a D-10. I was a D-10 man for years. I've switched and tried several different guitars over the years. One thing that really got my attention was the first time I played on a steel show with Jeff Newman he was playing a S-12U Zum. I watched him play everything on one neck. Then I played on a show with Cowboy Eddie Long. He played a S-12U Sierra. Same thing happened. Even after those two players, I still set and studied the S-12U tunings and set ups for about a year before I made the switch to S-12U. So I sold a D-10 Emmons and bought a S-12U from the Carter folks. Since I'd always played as much C6th as I did E9th the change was really easy. It only took about two weeks to get used to difference. I've stayed with the Carter guitars but have changed from a S-12U to a D-10, then the D-10 plus a S-10D and finally I decided to go back to the S-12U which I special ordered with 9 & 5 with blue birdseye mica. I now only have the S-12U Carter which has a flight case w/wheels which is great. My travel amp is a 112. I just added a handle and wheels to my Walker seat. It was actually heavier than my guitar. Lightweight and easy to play is the way to go with me. The only other piece of equipment I've got that is heavy is a Fender Steel King which stays at a local American Legion Hall for Saturdays. It has wheels also. I've studied a 14 string recently by looking at Bill Stafford's guitar. If I remember correctly, that guitar, an Excel has a high G# in the #1 position and a low E in the #14 spot. That was the main difference I found with the 14. Carter doesn't build a 14 string, so I guess I'll stay with the 12 for now since there's more on a 12 than I'll probably ever use. |
Gary Shepherd
Member From: Fox, Oklahoma, USA
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posted 04 November 2005 02:08 PM
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I had a hard enough time trying to play on 12 strings. I can't imagine keeping up with 14. Just too many to try and keep straight.On the other hand, when I went back to 10 strings (double neck) it made each string that much easier to find. ------------------
Gary Shepherd Carter D-10 www.16tracks.com
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Jerry Overstreet
Member From: Louisville Ky
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posted 04 November 2005 05:03 PM
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I alternated U12, U14, and D10 for a little while all in the same time period. The biggest adjustment for me was in the string grips. 5,6 & 10 on the D10 becomes 5,6 &9 the way many modern day Uni's are set up. Also losing the 9th string lower D/C#. Not the same voicing as the combo D/B change on the Uni's 9th string. If you don't use that a lot then it probably wouldn't be a major loss.
It's all a matter of mind set. If you are making an adjustment to more strings anyway, I don't see a problem going 14 instead of 12.
I will admit that when I first sat down at the 14, that neck looked as wide as the Ohio river. It didn't take long to get used to it though.
The other thing is the extra strings on the 14.
Most have an extra G# on top, so you have to move down a string for the F# you are accustomed to, consequently everything is a string lower on the neck. 'Course there's nothing says you can't customize the tuning.
What I'd like to try sometime is to string the 14 guitar starting at the top just like a 10 and keeping the 9th string same pos. and function as on the 10 and extending on down as in the standard Uni tuning. This would require 13 strings. Guess I'd just keep the low E and harrass the bass man with it. 
[This message was edited by Jerry Overstreet on 04 November 2005 at 05:13 PM.] |
Jim Sliff
Member From: Hermosa Beach California, USA
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posted 04 November 2005 05:09 PM
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You mean you need more than 8?;-) |
Mike Ester
Member From: New Braunfels, Texas, USA
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posted 04 November 2005 07:29 PM
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Spoken like a true Fender man.  |
Charlie McDonald
Member From: Lubbock, Texas, USA
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posted 05 November 2005 03:46 AM
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At first I only wanted six strings.Once I had a Honda 50, but it didn't take long to get up to a Triumph 500. So I guess it's the same way with steels. Thanks all for the thoughtful responses; lots of good things to consider. |
Doug Rolfe
Member From: Indianapolis, IN
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posted 05 November 2005 05:29 AM
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If you talk to Bill Stafford, he will tell why 14 strings is the way to go. I can't remember all of them, I do know that the low E resolves the chord better than a B.
If you hear him play, then you will think if only I could play like that. He does use them all. I presently play a 12 string but have certainly been thinking about going to a 14 string. I think you can get used to the extra two strings without any problem.------------------
Doug
Dekley 12U 4k & 7p
2-Nash 400 & Quadraverb
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Ernie Pollock
Member From: Mt Savage, Md USA
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posted 05 November 2005 05:41 AM
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Charlie: I have played D-10's & S-12U's, mostly S-12's because of the size.
since the E9th/B6th on the S-12 has pretty much the same thing as a D-10, I would go with that. If your just planning on playing at home & not moving the steel around much, no problem with a D-10. I have changed back & forth from from 10's to 12's, emmons to day setups, several times. I would stay away from the 14 stringer, just in case you would ever want to sell it, the 12's are more popular and would be easier to sell.Ernie Pollock http://www.hereintown.net/~shobud75/stock.htm ------------------
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Charlie McDonald
Member From: Lubbock, Texas, USA
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posted 05 November 2005 06:40 AM
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I've got Bill Stafford's solo album on order; indeed, he's the reason I've been considering a 14. Unfortunately, a Sierra Stafford Elegante just sold, and I missed it.
I'll take your advice to heart Ernie--I like your extended 12 tuning a lot--and I'm not sure those extra 2 strings would make a lot of difference.
Thanks, all. |
ed packard
Member From: Show Low AZ
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posted 05 November 2005 07:50 AM
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BILL STAFFORD is MR. 14!!! You will love that "solo" album. It shows what the 14 string PSG can do without backup if in the right hands.Need I say that I vote for 14 strings...you can always leave 2 strings off and have a 12, but it is not so easy to go from 12 to 14. You can't play what you don't have.[This message was edited by ed packard on 05 November 2005 at 07:56 AM.] |
Jerry Hayes
Member From: Virginia Beach, Va.
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posted 05 November 2005 09:31 AM
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I started on a MuliKord 6 string, 4 pedal guitar to a Fender 400 to a Fender 1000 with an E9th and A6th which changed to a form of E on the outside neck which was low to high:
E B D E G# B E G#
My next guitar was a ShoBud S-12 which I really liked because I'm primarilly a guitar player and couldn't stand not having a low E string. I had a couple of D-10's along the way but still the thing I didn't like was not having that low E. I tried once to go to another E tuning on the inside neck with the low E but I don't like that route. I played the E9/B6 universal for a long time but have been back on a form of extended E9th for a good while now and it's where I'm staying. The only difference in my setup and a regular Ext.E9 is my 2nd and 9th strings are tuned to C#. Right now it's setup like this:
< ^ > 1 2 3 4 5 6 7 8 < >
F#
C# D# D
G# A
E F# F D#
B A# C# C# C# A#
G# A A A#
F# G# F
E F# F D#
C# D C
B A# C# A#
G# A
E C# F D#
I think I've got it all....JH in Va. ------------------
Don't matter who's in Austin (or anywhere else) Ralph Mooney is still the king!!! [This message was edited by Jerry Hayes on 05 November 2005 at 09:33 AM.]
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Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 05 November 2005 12:07 PM
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On my C6th, I rarely use the lowest string. I don't enjoy dancing with the bass player - he usually ignores me and steps on my toes. I would go to a 14 string if my job requirement was to cover the bass line. In the music I play (popular country, blues and rock), the steel is never expected to play those parts.
My friend David Phillips plays a 14 string in an incredible fusion band. The band doesn't have a bass player - they pass around the bass line between 7-string guitar, electronic marimba and David's pedal steel.
Jazz chord masters like Bill Stafford often play solo pieces, where the pedal steel fills the entire audio spectrum. This is another niche where the 14-string "excels"  .
I tend to think of the 14-string pedal steel in the same category as the 7-string guitar or the 6-string bass. It's an extended instrument for people with great chops and even greater musical ambitions. I don't really fall into that category myself, but it's fun to watch those who do.------------------
 Bobby Lee (a.k.a. b0b) - email: quasar@b0b.com - gigs - CDs, Open Hearts
Williams D-12 E9, C6add9, Sierra Olympic S-12 (F Diatonic)
Sierra Laptop S-8 (E6add9), Fender Stringmaster D-8 (E13, C6 or A6) My Blog |
Charlie McDonald
Member From: Lubbock, Texas, USA
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posted 05 November 2005 02:32 PM
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quote:
It's an extended instrument for people with great chops and even greater musical ambitions.
Someone asked me 'why?', and I can't think of a better reason than this.
Hey, all I lack is the chops; but that's never stopped me.I appreciate all the pros and cons here.
And I'm glad there are more pros than cons in the forum membership. |
David Doggett
Member From: Philadelphia, Pennsylvania, USA
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posted 05 November 2005 05:43 PM
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I would go with an S12 E9/B6 universal. 1. It duplicates the classic E9 and C6 D10 necks. You loose the E9 D string, but get it on a lever. This actually simplified the low grips for me. I tried an extended E9 first, and hated it. I never used the D string much, and it just made things too complicated on the bottom. Also, it really messes up the 6th neck mode on the bottom. With the uni, all the D10 instructional material is usable. 2. S12Us are plentiful and inexpensive, new or on the used market, and are easy to trade. 3. An S12U is small and light, and is a helluva lot of guitar. 4. Having a low, low E on bottom (ala 14-string) doesn't seem very usable for me.
As b0b says, it is useless in a group situation. And even playing alone, it is just too low and dead for me (I'm no Bill Stafford). I do occasionally feel the need for a low A in the E9 pedal-down position. Many uni players drop the B down to A on their B pedal to get that. The usual uni low B becomes the C# root of the A pedal minor position, which is very useful for classical music, and this also creates a pentatonic scale all the way up the strings, which is very useful for blues and jazz. 5. I would not want an extra string on top messing up my standard E9 use of the top strings. Bottom line, the S12U is a very full and versatile tuning that retains the classic tried and true D10 necks, and is a practical size and weight. I would go there first. I suppose, if you are a real experimentalist, you could get a 14-string, and start with a classic S12U tuning without the top and bottom strings, then add them later if you feel a need for them. But the S12U has become a classic in its own right, and is used by many players, and instruments are plentiful. Finally, I wouldn't own a 12 or 14 string that didn't have gauged nut rollers. Also, any uni is more a challenge to builders, because of the multiple pulls on each string. It gets very crowded under there. For this reason, older used unis can be problematic in ways that don't seem as much a problem with older D10s. |
Bill Stafford
Member From: Gulfport,Ms. USA
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posted 08 November 2005 05:59 AM
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So glad to see this discussion and read the various opinions. Neat.
Bobby Lee mentioned my new EXCEL in passing. Technology, mechanics and features have really improved since my days at Sierra. Granted the low E (080) on my Sierra was there just for the bottom of the chord structure-it really came into its own when EXCEL, at my recommendation, increased the scale length to 25 1/2". This really tightend up that low note. Now I use a 120 ga . It is really nice and gives many low root notes in both the E9 tuning and in the B6 mode also. Just one example-in the B6 tuning, you have a C6 on the first fret. The standard pedal six with the standard C6 pulls, will give you a minor with the now very low root, and also a seventh with the same low root on the bottom. And, when you use the standard eight pedal with the same C6 changes, it will take the thirteenth string-which is a C on the first fret- to the low doo-wah A note and then you will have a low F note even under that to really accentuate the chord structure. And in the B6, open position, the eight pedal will take the B string, (no 13) down to G# and the low E is a root note in the E9 tuning. The G# naturally fits in with the E chord of the E9 tuning. Many more C6 pedal/lever changes, working out of the B6 tuning, are compatible to the E tuning. Players like Joe Wright, Eddie Long do not need to use the change lock and use both tunings all the time. I try to play mine like a doubel ten or twelve using the Change Lock.
The EXCEL change lock is not operated with those slave blocks as in the Sierra. The five raise/five lower capability of the EXCEL changer allows me to have individual tuning rods to adjust the E to Eb in the E tuning and when I engage the lock lever, there are complete separate tuning rods to tune for the B6 tuning should you need to tamper tune both tunings. There are no slave blocks at all on the EXCEL. Hope I am not sounding like a plug for the EXCEL. I just want you all to be aware of the changes in this guitar and why I play one today.
Thanks to all for the wonderful comments. It is most appreciated and humbling to me.
Bill Staffod
(And should anyone know more about the theory and tunings involved in our steel guitar than Ed Packard, please send them my way). I need to go back to school. |
David Doggett
Member From: Philadelphia, Pennsylvania, USA
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posted 08 November 2005 07:43 AM
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I must say that Bill makes beautiful use of his 14th string in his solo steel pieces. Maybe as I get more into the B6 mode I will feel more need for it. |
ed packard
Member From: Show Low AZ
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posted 08 November 2005 08:27 AM
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Mr. Smooth...you may have a whole passel of folk lined up to provide schooling (quite unneeded) for you. AS you know, this is just a fun passtime for me.DD...probably should not tell this, but Bill's "solo" album was done using the SIERRA Stafford Elegante' PSG (Bill's 14 string design and construction); so it is the player's touch and the player's design = dare to follow your heart. That album was cut in my lab in Colorado Springs...Just Bill, the PSG, and the recording equipment. As far as I remember, no retakes, no patching up...just Bill in his world. |
Charlie McDonald
Member From: Lubbock, Texas, USA
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posted 08 November 2005 01:53 PM
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I've got that album coming to me; can't wait to hear the results of the session.
But it's just going to make me want that SE I let go by; but sometimes, you can't have everything. |
Bill Stafford
Member From: Gulfport,Ms. USA
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posted 08 November 2005 07:41 PM
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Ed, it is perfectly alright to mention that I used my SE to record that solo session. I will always be very, very proud of that association with Sierra and you. They build one of the class steel guitars in this world.
Stand by Charlie, it will be there soon. It is still difficult to go anywhere here on the Mississippi coast due to all the storm debris. Hope the wait will be worth it for you.
Bill Stafford |
ed packard
Member From: Show Low AZ
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posted 09 November 2005 01:41 PM
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Here is an email that I received from CM, and the reason for what follows it.Ed,
I see the pedal steel much like you do, the most fascinating instrument, very underutilized, and a great hobby. From a piano background, I'm into exploring chord structure, and have only just begun. I'm also a bass player, so to me, having lots of bass notes is part of the fun.
And any further additions, I'd love to have it, and posting it on the thread would be good, as there appear to be many who are interested. OK Charlie, ...you asked for it so here is a first spoonful. Now lets the PST uni apart. We will start with the NC = E neck, and R> gives the Ds for the E9 neck/tuning. These are
shown in columns 1 & 2. For ease of thinking, we will show the notes as found on fret 8 (FR8), which will be in the key of C. These are shown in columns 3 thru 9. Most know that 2,4,6 have the same note names as 9,11,13. Which they are depends upon how they are used. Because we are emphasizing the two octave seven tone chord structure in this presentation, we will call them by their 9,11,13 names. String 11 will be used as our Root=1 string for this part of the presentation. This will cause the intervals given for strings 1 & 3 to be “out” re the rest for this section…you can handle that. 4X5 stands for 4 pedals and 5 levers. P1,P2,R>,L<,L^,L>,R<
are as found in the PST uni previously charted.
1 2 3 4 5 6 7 8 9
PST PST PST PST PST PST PST PST PST
UNI UNI 4x5 4x5 4x5 4x5 4X5 4X5 4X5
NC R> NC PX PXR> PXPYR> PXPY PXP2 PXR>P2
EM69 E9 C69 CM13 C13 Cm13 Cm13M7 CM13s4 C13s4
FR0 FR0 FR8 FR8 FR8 FR8 FR8 FR8 FR8
STR
1 F#=9 F#=9 D=9 D=9 D=9 D=9 D=9 D=9 D=9
2 d#=7 d=b7 b=7 b=7 bb=b7 bb=b7 b=7 b=7 bb=b7
3 G#=3 G#=3 E=3 E=3 E=3 Eb=b3 Eb=b3 F=4 F=4
4 E=1 E=1 C=1 C=1 C=1 C=1 C=1 C=1 C=1
5 B=5 B=5 G=5 A=13 A=13 A=13 A=13 A=13 A=13
6 G#=3 G#=3 E=3 F=11 F=11 F=11 F=11 F=11 F=11
7 F#=9 F#=9 D=9 D=9 D=9 D=9 D=9 D=9 D=9
8 E=1 D=b7 C=1 B=7 Bb=b7 Bb=b7 B=7 B=7 Bb=b7
9 B=5 B=5 G=5 G=5 G=5 G=5 G=5 G=5 G=5
10 G#=3 G#=3 E=3 E=3 E=3 Eb=b3 Eb=b3 F=4 F=4
11 E=1 E=1 C=1 C=1 C=1 C=1 C=1 C=1 C=1
12 C#=6 D=b7 A=6 A=13 A=13 A=13 A=13 A=13 A=13
13 B=5 B=5 G=5 F=11 F=11 F=11 F=11 F=11 F=11
14 E=1 E=1 C=1 C=1 C=1 C=1 C=1 C=1 C=1
First thing to notice is that strings 13 thru 3 in column 4 correspond with the note names for the Treble staff (below and above). Starting with string 11 = C = 1, the strings (PX activated),and the lines of the treble staff are a M13th chord. The CM13 chord found on fret 8 breaks down into the triad = C, the CM7, the CM9, and the CM11; these are all there using string 11 as the Root. Columns 5 thru 9 show some of the chord variations available via the added PX & PY when used with the common P2 & R>. Let’s look at the three tone chords available in column 4 by using other strings as the Root note: THREE TONE: FOUR TONE: FIVE TONE:
5,4,3 => Am
6,5,4 => F 6,5,4,3 => FM7
7,6,5 => Dm 7,6,5,4 => Dm7 7,6,5,4,3 => Bm11b5
8,7,6 => Bmb5 8,7,6,5 => Bm7b5 8,7,6,5,4 => Bm9b5
9,8,7 => G 9,8,7,6 => G7 9,8,7,6,5 => G9
10,9,8 => Em 10,9,8,7, => Em7 10,9,8,7,6 => Em7b9
11,10,9 => C 11,10,9,8 => CM7 11,10,9,8,7 => CM9
12,11,10 => Am 12,11,10,9 => Am7 12,11,10,9,8 => Am9
13,12,11 => F 13,12,11,10 => FM7 13,12,11,10,9 => FM9
I will leave the six and seven tone chords for those so inclined. The column 4 chords are half of the chords needed to harmonize the C scale. We have discerned that for the key of C, these strings (13 thru 3) are the same as the line notes of the treble staff, and are a CM13 chord. We may extend this further to state that if the KEY Root note of a major scale is on a staff line the rest of the KEY scale odd intervals/notes will also be on a staff line, and the even intervals/notes will be the spaces. If the KEY Root is in a space, the odd intervals/notes will be in the spaces, and the even intervals/notes will be on the lines. If the seven sequential odd intervals/notes of a major key give a IM13 chord, what do the seven sequential even intervals/notes give? = the IIm13 chord…if lines => M13, then spaces = m13. Column 5 shows the Cm13=Im13 chord as a function of activated changes, hence we have the Dm13=IIm13 chord if we move up two frets. If we take apart the Dm13 chord into 3,4,5,6,&7 tone chords (as we did the CM13 chord), we will have the rest of the chords needed to harmonize the C scale; therefore, we can harmonize the scale using only two frets. Because there is a C note on each string, there will be a C13th chord of some type using each C note as the Root. These may also be parsed into 3,4,5,6,&7 tone chords. We could raise the 14th string a whole tone for use in the 13 series structure and have a D,F,A,C,E,G,B, on the bottom strings with PX activated...just to be thorough about it all. Now let off (deactivate) PXPX etc. and be back to the E9/B6/A6 string order.
Some of this stuff is difficult to say/write in a non ambiguous manner…my apologies for the ambiguities.
[This message was edited by ed packard on 09 November 2005 at 02:29 PM.] |
Charlie McDonald
Member From: Lubbock, Texas, USA
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posted 09 November 2005 03:27 PM
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This is excellent. I've never seen it presented in quite this way, and it makes a good chord locator. Lots of information here that will require study.
I'll be posting this over my steel. There are parts I can use in E9; and the rest of it is good incentive for a 14. Who would want any less?I asked for it; I got it.
Thanks, Ed. |
ed packard
Member From: Show Low AZ
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posted 10 November 2005 06:56 AM
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Hang on Charlie...here we go again!Now for a change that may not appear to be part of the 13 series structure/pattern, but does good things, as will be shown. Notice that the fret numbers change, and the Root string also changes.
10 11 12 13 14
PST PST PST PST PST
4X6 4X6 4x6 4x6 4X6
PZ PXPZ PXPZ PX PXPYR>
?? Em13 Dm13 CM13 Dm13
FR8 FR8 FR6 FR8 FR10
STR
1 D D=b7 C=b7 D=9 E=9
2 b b=5 a=5 b=7 c=b7
3 E E=1 D=1 E=3 F=b3
4 Db C#=13 B=13 C=1 D=1
5 G A=11 G=11 A=13 B=13
6 F# F#=9 E=9 F=11 G=11
7 D D=b7 C=b7 D=9 E=9
8 C B=5 A=5 B=7 C=b7
9 G G=b3 F=b3 G=5 A=5
10 E E=1 D=1 E=3 F=b3
11 C# C#=13 B=13 C=1 D=1
12 A A=11 G=11 A=13 B=13
13 F# F#=9 E=9 F=11 G=11
14 D D=b7 C=b7 C=1 D=1
Column 10 shows the result of activating PZ in terms of the notes found at fret 8. There are a few chords with various Roots, but nothing 13 series oriented. Column 11 shows the result of activating PXPZ on the notes found at fret 8. The intervals are for E=1 on string 10. Column 12 shows the result of activating PXPZ on the notes found at fret 6. The intervals are for D=1 on string 10. Column 13 shows the result of activating PX on the notes found at fret 8. The intervals are for C=1 on string 11. Column 14 shows the results of activating PXPYR> on the notes found on fret 10. The intervals are for D=1 on string 11. What can we do with all that? Remember the CM13 to Dm13 relationship where C chords were on the 8th fret and the D chords were on the 9th fret? With that, we could slide and morph from the C (and other) chords on the 8th fret to D (and other chords) on the 10th fret. Now we have added the ability to slide and morph from D (and other) chords on the 6th fret to E (and other) chords on the 8th fret, to F (and other) chords on the 10th fret. The same string number would supply the chord Root in each case. Lets see what that would look like using four tone chords…you can finish it using 5,6,&7 tone chords = 9ths,11ths, and 13ths.
PXPZ PX PXPYR>
THE STRINGS: FRET 6 CHORDS: FRET 8 CHORDS: FRET 10 CHORDS:
6,5,4,3 Em7=IIIm7 FM7=IVM7 G7=V7
7,6,5,4 CM7=IM7 Dm7=IIm7 Em7=IIIm7
8,7,6,5 Am7=Vim7 Bm7b5=VIIm7b5 CM7=IM7
9,8,7,6 FM7=IVM7 G7=V7 Am7=Vim7
10,9,8,7 Dm7=IIm7 Em7=IIIm7 FM7=IVM7
11,10,9,8 Bm7b5=VIIm7b5 CM7=IM7 Dm7=IIm7
12,11,10,9 G7=V7 Am7=VIm7 Bm7b5=VIIm7b5
13,12,11,10 Em7=IIIm7 FM7=IVM7 G7=V7
From the above list, one can see that morphing/sliding from the I chord, to the II chord, to the III chord; from the III chord, to the IV chord, to the V chord; etc.. All these chords are the chords that harmonize the KEY scale (key of C as shown). All chords have the intervals in order; CM7 = C,E,G,B = 1,3,5,7 ETC.= NO skips except to eliminate an interval(s) from your chord. I know of no more powerful tuning/setup re chords. It falls well on a 12 string also. More to come.
[This message was edited by ed packard on 10 November 2005 at 06:57 AM.] |
Charlie McDonald
Member From: Lubbock, Texas, USA
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posted 10 November 2005 08:43 AM
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I'm hanging on; I'll be making patterns of this for a long time. (It's a good thing I've got a beautiful mind, for those who saw the movie.)But on PX, I thought I was with you for a while there, but now I'm not sure.
PX? PY? We're not talking about the E lock, are we? |
Fred Shannon
Member From: Rocking "S" Ranch, Comancheria, Texas
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posted 10 November 2005 09:14 AM
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Charlie, go to this site and you'll better understand the Pst 13 tunin:
http://www.b0b.com/tunings/edpack.htm I use most of this tuning on a 12 string MSA and it works great. Phred |
ed packard
Member From: Show Low AZ
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posted 10 November 2005 09:24 AM
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Charlie...nope not the "E lock". A lock can be added to hold PX activated, freeing up the foot for more variations...but in that case, resolution back to the E9/B6 from the 13 series is problematic. It is nice to have a choice so a lock gives the option.Phred...nice to know that someone is getting some use from it all. |
ed packard
Member From: Show Low AZ
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posted 10 November 2005 10:46 AM
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Here is a group of charts for the 13 series structure that shows the chord type, and designator as a function of activated changes (pedals and levers). What it tells me is that I should redo a few formulae in my spreadsheet to “trim” blank characters from the chord types…oh well, someday. It was fun enough to get the program to name the chords via logic as opposed to lookup table.• indicates the octave note is included in 5,6,7 tone chord types. Octaves are usually not wanted in 9ths, 11ths, and 13th chords. (3,5) means that the 3rd and 5th intervals are not included in the chord. They may have been replaced by S2,S4, or other. In order to get a reasonable presentation on the Forum, I had to eliminate some chord types with long names.
FRET 8 PX
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI m s4( 5,)
6 F IV Maj 6
7 D II m m 7 m 7 *
8 B VII m b5 m 7 b5 m 7 b5b9
9 G V Maj 7 9 11 11bb13
10 E III m m 7 m7b9 m11b9
11 C I Maj M7 M9 M11 M13
12 A VI m m 7 m 9 m 11 m11b13
13 F IV Maj M7 M9 M9#11 M13#11
14 C I 6 s4(3,5,)
FRET 8 PXR>
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI m s4( 5,)
6 F IV Maj 6
7 D II m m 7 m 7 *
8 A#-Bb bVII Maj M7 M9 M9b11
9 G V m m 7 m 9 m 11 m11bb13
10 E III m b5 m 7 b5 m7b5b9 m11b5b9
11 C I Maj 7 9 11 13
12 A VI m m 7 m 7b9 m 11b9 m11b9b13
13 F IV Maj M7 M9 M11 M13
14 C I 6 s4(3,5,)
FRET 8 PXPYR>
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI m s4( 5,)
6 F IV Maj 6
7 D II m m 7 m 7 *
8 A#-Bb bVII Maj M7 M9 M9b11
9 G V m m 7 m 9 m 11 m11bb13
10 D#-Eb bIII Maj M7 M9 M9#11 M13#11
11 C I m m 7 m 9 m 11 m 13
12 A VI m b5 m7b5 m7b5b9 m11b5b9
13 F IV Maj 7 9 11 13
14 C I 6 s4(3,5,)
FRET 8 PXPY
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI ms4(5)
6 F IV Maj 6
7 D II m m 7 m 7 *
8 B VII m b5 m 7 b5 m7b5b9
9 G V Maj 7 9 11 11bb13
10 D#-Eb bIII #5 M7 #5 M9 #5 M9#5#11 M13#5#11
11 C I m m M7 m M9 m M11 m M13
12 A VI m b5 m 7 b5 m 9 b5 m 11 b5 m11b5b13
13 F IV Maj 7 9 9#11 13#11
14 C I 6 s4(3,5,)
FRET 8 PXP2
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI m s4( 5,)
6 F IV Maj 6
7 D II m m 7 m 7 *
8 B VII m b5 m7b5 m7b5b9
9 G V Maj 7 9 11 11bb13
10 F IV s2 b5(3, )
11 C I s4(3, ) M7 s4 M9 s4 M11s4 M13s4
12 A VI m #5 m 7#5 m9#5 m11#5 m11#5b13
13 F IV Maj * 9 * 9*#11 13*#11
14 C I 6 s4(3,5,)
FRET 8 PXR>P2
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI m s4( 5,)
6 F IV Maj 6
7 D II m m 7 m 7 *
8 A#-Bb bVII Maj M7 M9 M9b11
9 G V m m 7 m 9 m 11 m11bb13
10 F IV
11 C I s4(3) 7s4(3) 9s4(3) 11s4(3) 13s4
12 A VI m #5 m7#5 m7#5b9 m11#5b9
13 F IV Maj * 9 * 11 *(7 ) 13 *(7 )
14 C I 6 s4(3,5,)
FRET 8 PXPZR>
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI s4( 5,)
6 F#-Gb bV m m #5
7 D II Maj M7 M7 *
8 A#-Bb bVII #5 M7 #5 M7#5#9
9 G V m m M7 m M9 mM9#11
10 E III m b5 m 7 b5 m 9 b5 m11b5 m13b5
11 C#-Db bII m b5 m6 b5 m6b5b9
12 A VI Maj 7 7b9 11b9 13b9
13 F#-Gb bV m m 7 m 7b9 m7b9b11
14 C#-Db bII s4#5(3)
FRET 8 PXPZ
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI s4( 5,)
6 F#-Gb bV m m #5
7 D II Maj M7 M7 *
8 B VII m m 7 m 9
9 G V Maj M7 M9 M9#11
10 E III m m 7 m 9 m 11 m 13
11 C#-Db bII m b5 m 7 b5 m7b5b9 m11b5b9
12 A VI Maj 7 9 11 13
13 F#-Gb bV m m 7 m 7b9 m 11b9 m11b9b13
14 C#-Db bII s4#5(3)
FRET 8 PXPZR>
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI s4( 5,)
6 F#-Gb bV m m #5
7 D II Maj M7 M7 *
8 A#-Bb bVII #5 M7#5 M7#5#9
9 G V m m M7 m M9 mM9#11
10 E III m b5 m 7 b5 m 9 b5 m11b5 m13b5
11 C#-Db bII m b5 m6 b5 m6b5b9
12 A VI Maj 7 7b9 11b9 13b9
13 F#-Gb bV m m 7 m 7b9 m7b9b11
14 C#-Db bII s4#5(3)
FRET 8 PXPYPZ
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI s4( 5,)
6 F#-Gb bV m m #5
7 D II Maj M7 M7 *
8 B VII m m 7 m 9
9 G V Maj M7 M9 M9#11
10 D#-Eb bIII #5 M7#5 M7#5#9
11 C#-Db bII s2b5(3) 7s2 b5 7s2b5b9 11s2b5b9
12 A VI b5 7 b5 9 b5 11 b5 13 b5
13 F#-Gb bV m m6 m6b9
14 C#-Db bII s4#5(3)
FRET 8 PXPYPZR>
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI s4( 5,)
6 F#-Gb bV m m #5
7 D II Maj M7 M7 *
8 A#-Bb bVII #5 M7#5 M7#5#9
9 G V m m M7 m M9 mM9#11
10 D#-Eb bIII Maj M7 M7#9 M7#9#11
11 C#-Db bII s2b5(3)
12 A VI b5 7 b5 7b5b9 11b5b9 13b5b9
13 F#-Gb bV m m6 m6b9
14 C#-Db bII s4#5(3)
FRET 8 PXPYPZP2
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI s4( 5,)
6 F#-Gb bV m m #5
7 D II Maj M7 M7 *
8 B VII m m 7 m 9
9 G V Maj M7 M9 M9#11
10 E III m m 7 m 9 m 11 m 13
11 C#-Db bII m b5 m 7 b5 m7b5b9 m11b5b9
12 A VI Maj 7 9 11 13
13 F IV #5 M7 #5 M9 #5 M9#5#11 M13#5#11
14 C#-Db bII #5 #5* #5*#9
FRET 8 PXPZP2
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI s4( 5,)
6 F#-Gb bV m m #5
7 D II Maj M7 M7 *
8 B VII m m 7 m 9
9 G V Maj M7 M9 M9#11
10 F IV s2b5(3)
11 C#-Db bII b5 7 b5 7b5b9 11b5b9 11b5b9b13
12 A VI #5 7 #5 9 #5 11 #5 13 #5
13 F IV #5 #5* 9 #5*
14 C#-Db bII #5 #5* #5*b11
FRET 8 PXPZR>P2
Str Changed Chord
# FRET 8 DESIG'
NOTES CLASSIC 3 TONE 4 TONE 5 TONE 6 TONE 7 TONE
5 A VI s4( 5,)
6 F#-Gb bV m m #5
7 D II Maj M7 M7 *
8 A#-Bb bVII #5 M7#5 M7#5#9
9 G V m m M7 mM9 mM9#11
10 F IV
11 C#-Db bII b5 6 b5 6b5b9
12 A VI #5 7 #5 7#5b9 11#5b9 13#5b9
13 F IV #5 #5* 9 #5* 11#5*(7) 13#5*(7)
14 C#-Db bII #5 #5* #5*b11
[This message was edited by ed packard on 10 November 2005 at 02:23 PM.] |
Bill Stafford
Member From: Gulfport,Ms. USA
|
posted 10 November 2005 12:33 PM
profile
Ed, as usual, you are certainely "on top" of all involved in this music theory and the mechanical ability that formulates all of this.
Charlie, I was able to acturally get to a post office this morning and your CD is in the mail. Thanks for your patience. Hope you enjoy some of it anyway.
Bill Stafford. |
Charlie McDonald
Member From: Lubbock, Texas, USA
|
posted 10 November 2005 12:56 PM
profile
Ah, the missing link. Thanks, Fred.
The more I look at this tuning, the better I like it, as there is the possibility of spelling out the chords I like. Stacked thirds are how I build chords.
I also think the charts show that 4 pedals would be enough for my purposes.
So slowly, the light bulb comes on (it must be on a rheostat).
I'll be printing a lot of this to make me a little reference book.There are a couple of things I wonder about , like why all the mid-hi E's aren't lowered to D on R>, and all the G#'s not flatted to G's on PY. I'll be adding those. I feel like I've found the next level of instruction. And it's in numerical notation. Like my own private Idaho.
Now back to the charts.... Another interesting thing is that the chord structure is the same as what I use on a 6-string lap, an F chord with a C over it (ACFGCE).[This message was edited by Charlie McDonald on 10 November 2005 at 01:01 PM.] |
ed packard
Member From: Show Low AZ
|
posted 10 November 2005 02:37 PM
profile
Here is an alternate way to present the info in the above charts. This way allows looking up a particular chord type. If you had the master, you could sort in any way you wished.I had to leave out the 3 tone chord type column to get a good Forum fit/
13 SERIES FRET 8
CHANGES STRING ROOT INTER' 4 TONE 5 TONE 6 TONE 7 TONE
PXPYPZP2 14 C#-Db bII #5* #5*#9
PXPZP2 14 C#-Db bII #5* #5*b11
PXPZR>P2 14 C#-Db bII #5* #5*b11
PXPZP2 13 F IV #5* 9 #5*
PXPZR>P2 13 F IV #5* 9 #5* 11#5*(7)
PX 6 F IV 6
PXP2 6 F IV 6
PXPY 6 F IV 6
PXPYR> 6 F IV 6
PXR> 6 F IV 6
PXR>P2 6 F IV 6
PXPZR>P2 11 C#-Db bII 6 b5 6b5b9
PXPZR> 12 A VI 7 7b9 11b9 13b9
PXPZR> 12 A VI 7 7b9 11b9 13b9
PX 9 G V 7 9 11 11bb13
PXP2 9 G V 7 9 11 11bb13
PXPY 9 G V 7 9 11 11bb13
PXPYPZP2 12 A VI 7 9 11 13
PXPYR> 13 F IV 7 9 11 13
PXPZ 12 A VI 7 9 11 13
PXR> 11 C I 7 9 11 13
PXPY 13 F IV 7 9 9#11 13#11
PXPZR>P2 12 A VI 7 #5 7#5b9 11#5b9 13#5b9
PXPZP2 12 A VI 7 #5 9 #5 11 #5 13 #5
PXPZP2 11 C#-Db bII 7 b5 7b5b9 11b5b9 11b5b9b13
PXPYPZR> 12 A VI 7 b5 7b5b9 11b5b9 13b5b9
PXPYPZ 12 A VI 7 b5 9 b5 11 b5 13 b5
PXR>P2 11 C I 7 s4(3) 9 s4(3) 11s4(3) 13 s4
PXPYPZ 11 C#-Db bII 7s2 b5 7s2b5b9 11s2b5b9
PXPYPZ 6 F#-Gb bV m #5
PXPYPZP2 6 F#-Gb bV m #5
PXPYPZR> 6 F#-Gb bV m #5
PXPZ 6 F#-Gb bV m #5
PXPZP2 6 F#-Gb bV m #5
PXPZR> 6 F#-Gb bV m #5
PXPZR> 6 F#-Gb bV m #5
PXPZR>P2 6 F#-Gb bV m #5
PX 7 D II m 7 m 7 *
PXP2 7 D II m 7 m 7 *
PXPY 7 D II m 7 m 7 *
PXPYR> 7 D II m 7 m 7 *
PXR> 7 D II m 7 m 7 *
PXR>P2 7 D II m 7 m 7 *
PXPZ 13 F#-Gb bV m 7 m 7b9 m 11b9 m11b9b13
PXR> 12 A VI m 7 m 7b9 m 11b9 m11b9b13
PXPYPZ 8 B VII m 7 m 9
PXPYPZP2 8 B VII m 7 m 9
PXPZ 8 B VII m 7 m 9
PXPZP2 8 B VII m 7 m 9
PXPYPZP2 10 E III m 7 m 9 m 11 m 13
PXPYR> 11 C I m 7 m 9 m 11 m 13
PXPZ 10 E III m 7 m 9 m 11 m 13
PX 12 A VI m 7 m 9 m 11 m11b13
PXPYR> 9 G V m 7 m 9 m 11 m11bb13
PXR> 9 G V m 7 m 9 m 11 m11bb13
PXR>P2 9 G V m 7 m 9 m 11 m11bb13
PX 10 E III m 7 m7b9 m11b9 m11b9 b13
PX 8 B VII m 7 b5 m 7 b5b9
PXPY 12 A VI m 7 b5 m 9 b5 m 11 b5 m11b5b13
PXPZR> 10 E III m 7 b5 m 9 b5 m11b5 m13b5
PXPZR> 10 E III m 7 b5 m 9 b5 m11b5 m13b5
PXPY 8 B VII m 7 b5 m7b5b9
PXPZ 11 C#-Db bII m 7 b5 m7b5b9 m11 b5b9
PXPYPZP2 11 C#-Db bII m 7 b5 m7b5b9 m11b5b9
PXR> 10 E III m 7 b5 m7b5b9 m11b5b9
PXP2 12 A VI m 7#5 m9#5 m11#5 m11#5b13
PXPY 11 C I m M7 m M9 m M11 m M13
PXPZR> 9 G V m M7 m M9 mM9#11
PXPYPZ 13 F#-Gb bV m6 m6b9
PXPYPZR> 13 F#-Gb bV m6 m6b9
PXPZR> 11 C#-Db bII m6 b5 m6b5b9
PXPZR> 11 C#-Db bII m6 b5 m6b5b9
PXPYPZ 7 D II M7 M7 *
PXPYPZP2 7 D II M7 M7 *
PXPYPZR> 7 D II M7 M7 *
PXPZ 7 D II M7 M7 *
PXPZP2 7 D II M7 M7 *
PXPZR> 7 D II M7 M7 *
PXPZR> 7 D II M7 M7 *
PXPZR>P2 7 D II M7 M7 *
PXPYPZR> 10 D#-Eb bIII M7 M7#9 M7#9#11
PXPZR> 13 F#-Gb bV m7 m7b9 m7b9b11
PXPZR> 13 F#-Gb bV m7 m7b9 m7b9b11
PX 11 C I M7 M9 M11 M13
PXR> 13 F IV M7 M9 M11 M13
PXPYPZ 9 G V M7 M9 M9#11
PXPYPZP2 9 G V M7 M9 M9#11
PXPZ 9 G V M7 M9 M9#11
PXPZP2 9 G V M7 M9 M9#11
PX 13 F IV M7 M9 M9#11 M13#11
PXPYR> 10 D#-Eb bIII M7 M9 M9#11 M13#11
PXPYR> 8 A#-Bb bVII M7 M9 M9b11
PXR> 8 A#-Bb bVII M7 M9 M9b11
PXR>P2 8 A#-Bb bVII M7 M9 M9b11
PXPZR> 8 A#-Bb bVII M7 #5 M7#5#9
PXPY 10 D#-Eb bIII M7 #5 M9 #5 M9#5#11 M13#5#11
PXPYPZP2 13 F IV M7 #5 M9 #5 M9#5#11 M13#5#11
PXP2 11 C I M7 s4 M9 s4 M11s4 M13s4
PXPYPZ 10 D#-Eb bIII M7#5 M7#5#9
PXPYPZR> 8 A#-Bb bVII M7#5 M7#5#9
PXPZR> 8 A#-Bb bVII M7#5 M7#5#9
PXPZR>P2 8 A#-Bb bVII M7#5 M7#5#9
PXR>P2 12 A VI m7#5 m7#5b9 m11#5b9
PXP2 8 B VII m7b5 m7b5b9
PXPYR> 12 A VI m7b5 m7b5b9 m11b5b9
PXPYPZR> 9 G V mM7 m M9 mM9#11
PXPZR> 9 G V mM7 m M9 mM9#11
PXPZR>P2 9 G V mM7 mM9 mM9#11
|
Charlie McDonald
Member From: Lubbock, Texas, USA
|
posted 10 November 2005 04:32 PM
profile
Woof. I'm going to have to get some new software to handle the data.
This is great! Why didn't somebody think of this before?
My hat's off to ya, Ed. |
Charlie McDonald
Member From: Lubbock, Texas, USA
|
posted 11 November 2005 05:54 AM
profile
Ed; I've copied the columns of data onto testing pages for purposes of printing.
A great resource.Only one problem.
If pedals 3 & 4 are PX and PY, what is PZ? It's not shown on the link to 'PST 13.'
Sounds like I need a 5th pedal already, and I don't even have a guitar yet. A really great body of work you've done here. All I need now is a 14-string gui.
I simply don't think there's any other way to go. |
ed packard
Member From: Show Low AZ
|
posted 11 November 2005 06:13 AM
profile
Charlie...I use PX,PY,PZ as others might arrange them in a different way. I chose PX as P3 instead of the common E9 p3 so that I could get the s4 series chords by combining it with P2. Since the minor maker (PY) would not be used with the s4 maker (P2) it was placed as P4. When the B6 changes are added, the B6 P4 becomes P5 etc.I use PZ in my P10 slot. That calls for two footing. I am working on fitting some A6 (P1P2 etc) to the Forum. We will do it As F6 and on fret 8. Later...Edp |
ed packard
Member From: Show Low AZ
|
posted 11 November 2005 08:07 AM
profile
Just as PX was the entry change to the I13 series chord structure, so P1P2 activated is the entry to the IV neck chord structure.We will deal with the IV neck at fret 3 where C=I=1. Just as the 13 series structure is dedicated to get 3,4,5,6,&7 tone chords (two octave chords), we will dedicate the P1P2 structure to get 3&4 tone structures (one octave chords). WE will show the 5 tone chords as the octave note is commonly available. With respect to the C=I=1 chords in this series: L^ is used as the b7 maker for this series. Some may prefer to Have it as the 7 maker with a halfstop, thus adding the M7 chord structures to the mix. L< is the #5 maker. L> is the b5 maker. R< is the minor maker. R> is the s4 maker. If you are looking for the Dim7 chord, look for m6b5.
==
Sorry about the delay...the Forum post protocol re tab & /tab, and my change naming ways are in conflict, plus the column width is requiring me to edit out a good deal of the complex chord information. Here is a conbination information and translation chart. I will use the L1 L2 L3 for the levers, just as I used P1 P2 P3 for the pedals. The levers are labeled left to right with L1 thru L5 being for the E9/A6/B6 necks (no B6 lock), and L6 L7 L4 L5 being for the B6 lock condition. The unfortunate part is that a sequence problem will arise if other levers are added (R^ for instance). PST13
IV NECK CHORD TYPES:
P1P2+ --- --- --- 6
P1P2+ L< LL L1 6#5
P1P2+ L> LR L3 6b5
P1P2+ R< RL L4 m6
P1P2+ RP1P2+ R RL,LR L4L3 m6b5
P1P2+ RP1P2+ RP1P2+ R RL,LV,LR L4L2L3 m7b5
P1P2+ R> RR L5 s4
P1P2+ R>L< RR,LL L5L1 s4#5
P1P2+ R>L> RR,LR L5L3 s4b5
P1P2+ L^R> LV,RR L2L5 7s4
P1P2+ L^R>L< LV,RR,LL L2L5L1 7s4#5
P1P2+ L^R>L> LV,RR,LR L2L5L3 7s4b5
P1P2+ L^ LV L2 7
P1P2+ L^L< LV,LL L2L1 7#5
P1P2+ L^L> LV,LR L2L3 7b5
Here you can see the problem...if you can decode it you can see the conversion, and the available chords = good puzzle. and here are the added chords that are available on the IV neck C position (fret 3) if the M7 change is added to the mix. The IV neck structure is much more powerful for 4 tone chords than usually realized.
if L^ => M7
Missing links
mM7
mM7#5
mM7b5
M7s4
M7s4#5
M7s4b5
M7
M7#5
M7b5
The above are only the chord variations with sequential intervals with root included as the starting/lower string, as related to the IV chord. In general, on this tuning structure, the IV four tone chords are available in two octaves on one fret...fret 10 and fret 6 being the roots...cellos anyone? THE PST E9/B6 IV neck charts for fret 3 = C chords: The string order for these is set like the upper strings on a C6 neck. The next chart gives the string notes and intervals on fret 3 with P1P2 activated.
P1P2 P1P2
STR # FRET 3 IV neck FRET 3
NOTES Key of C INTERVALS
1 e III
2 C I
3 A VI
4 G V
5 E III
6 C I
7 A VI
8 G V
9 E III
10 C I
11 G V
12 E III
13 C I
14 G V
The following charts use the above string order.
P1P2 --- FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 --- 4 G V s2s4
P1P2 --- 5 E III ms4(5) ms4#5
P1P2 --- 6 C I Maj 6 6*
P1P2 --- 7 A VI m m7 m7*
P1P2 --- 8 G V s2s4 6s2s4 6s2s4*
P1P2 --- 9 E III ms4(5) ms4#5 ms4#5*
P1P2 --- 10 C I Maj 6 6*
P1P2 --- 11 G V 6s4(5) 6 s4 *
P1P2 --- 12 E III m#5 m#5* m#5*#9
P1P2 --- 13 C I Maj * *b11
P1P2 --- 14 G V 6s4(5) 6s4*(5)
P1P2 L3 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L3 4 F#-Gb bV mb5
P1P2 L3 5 E III s2s4 s2s4#5
P1P2 L3 6 C I b5 6b5 6b5*
P1P2 L3 7 A VI m m6 m6*
P1P2 L3 8 F#-Gb bV mb5 m7b5 m7b5*
P1P2 L3 9 E III s2s4 s2s4#5 s2s4#5*
P1P2 L3 10 C I b5 6b5 6b5*
P1P2 L3 11 G V 6s4(5)
P1P2 L3 12 E III m #5 m#5* m9#5*
P1P2 L3 13 C I Maj * *b11
P1P2 L3 14 G V 6s4(5) 6 s4*(5)
P1P2 L4 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L4 4 G V s2s4
P1P2 L4 5 D#-Eb bIII b5 6b5
P1P2 L4 6 C I m m6 m6*
P1P2 L4 7 A VI mb5 m7b5 m7b5*
P1P2 L4 8 G V s2s4 s2s4#5 s2s4#5*
P1P2 L4 9 D#-Eb bIII b5 6b5 6b5*
P1P2 L4 10 C I m m6 m6*
P1P2 L4 11 G V s4#5 s4 #5* 9s4#5*
P1P2 L4 12 D#-Eb bIII 6(5) 6*(5) 6*b11(5)
P1P2 L4 13 C I m m* m*#9
P1P2 L4 14 G V s4#5 s4#5* 11s4#5*
P1P2 L4L1 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L4L1 4 G#-Ab #V b2(5)
P1P2 L4L1 5 D#-Eb bIII s4b5(3) 6s4b5
P1P2 L4L1 6 C I m#5
P1P2 L4L1 7 A VI m b5 mM7b5 mM7b5*
P1P2 L4L1 8 G#-Ab #V b2(5) b2 *b2
P1P2 L4L1 9 D#-Eb bIII
P1P2 L4L1 10 C I m#5 m6#5 m6#5*
P1P2 L4L1 11 G#-Ab #V Maj * *b9
P1P2 L4L1 12 D#-Eb bIII 6s4(5) 6s4*(5)
P1P2 L4L1 13 C I m#5 m#5*
P1P2 L4L1 14 G V s4#5 s4#5b9
P1P2 L4L3 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L4L3 4 F#-Gb bV m b5
P1P2 L4L3 5 D#-Eb bIII m b5 m6b5
P1P2 L4L3 6 C I m b5 m6b5 m6b5*
P1P2 L4L3 7 A VI m b5 m6b5 m6b5*
P1P2 L4L3 8 F#-Gb bV m b5 m6b5 m6b5*
P1P2 L4L3 9 D#-Eb bIII m b5 m6b5 m6b5*
P1P2 L4L3 10 C I m b5 m6b5 m6b5*
P1P2 L4L3 11 G V s4#5
P1P2 L4L3 12 D#-Eb bIII 6(5) 6*(5) 6*#9(5)
P1P2 L4L3 13 C I m m* m*#9
P1P2 L4L3 14 G V s4#5 s4#5*
P1P2 L4L2 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L4L2 4 G V s2(5)
P1P2 L4L2 5 D#-Eb bIII b5
P1P2 L4L2 6 C I m m6 m6M7
P1P2 L4L2 7 A#-Bb bVII s2s4 6s2s4
P1P2 L4L2 8 G V ms4(5,) ms4#5 ms4#5*
P1P2 L4L2 9 D#-Eb bIII Maj 6 6*
P1P2 L4L2 10 C I m m7 m7*
P1P2 L4L2 11 G V s4#5(3) s4 #5* s4#5*#9
P1P2 L4L2 12 D#-Eb bIII 6(5) 6*(5) 6*b11(5)
P1P2 L4L2 13 C I m m* m*#9
P1P2 L4L2 14 G V s4#5(3) s4#5* 11s4#5*
P1P2 L4L2L1 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L4L2L1 4 G#-Ab #V mb2(5)
P1P2 L4L2L1 5 D#-Eb bIII s4b5
P1P2 L4L2L1 6 C I m#5 m6#5 m6#5M7
P1P2 L4L2L1 7 A#-Bb bVII s2s4 7s2s4
P1P2 L4L2L1 8 G#-Ab #V s2(5) s2 s2*
P1P2 L4L2L1 9 D#-Eb bIII s4(3) 6s4(3) 6s4*
P1P2 L4L2L1 10 C I m#5 m7#5 m7#5*
P1P2 L4L2L1 11 G#-Ab #V Maj * 9*
P1P2 L4L2L1 12 D#-Eb bIII 6s4(5) 6s4*(5) 6s4*11(5)
P1P2 L4L2L1 13 C I m#5 m#5* m#5*#9
P1P2 L4L2L1 14 G V s4#5 s4#5b9
P1P2 L4L2L3 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L4L2L3 4 F#-Gb bV ms4(5)
P1P2 L4L2L3 5 D#-Eb bIII mb5
P1P2 L4L2L3 6 C I mb5 m6b5
P1P2 L4L2L3 7 A#-Bb bVII s2s4 s2s4#5
P1P2 L4L2L3 8 F#-Gb bV b5 6b5 6b5*
P1P2 L4L2L3 9 D#-Eb bIII m m6 m6*
P1P2 L4L2L3 10 C I mb5 m7b5 m7b5*
P1P2 L4L2L3 11 G V s4#5
P1P2 L4L2L3 12 D#-Eb bIII 6(5) 6*(5) 6*#9(5)
P1P2 L4L2L3 13 C I m m* m*#9
P1P2 L4L2L3 14 G V s4#5 s4#5* 11s4#5*
P1P2 L5 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L5 4 G V s2s4
P1P2 L5 5 E III ms4(5) ms4#5
P1P2 L5 6 C I Maj 6 6*
P1P2 L5 7 A VI m m7 m7*
P1P2 L5 8 F IV Maj M7 M9
P1P2 L5 9 E III
P1P2 L5 10 C I s4(5) 6s4(5) 6s4*(5)
P1P2 L5 11 G V 6s4(5)
P1P2 L5 12 F IV s2(3) M7s2(3)
P1P2 L5 13 C I s4(3) s4*(3) s4*b11(3)
P1P2 L5 14 G V s4(3,5) 7s4*(5) 11s4*5,)
P1P2 L5L1 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L5L1 4 G#-Ab #V b2(5)
P1P2 L5L1 5 E III s4(5) s4#5
P1P2 L5L1 6 C I #5 6#5 6#5*
P1P2 L5L1 7 A VI m mM7 mM7*
P1P2 L5L1 8 F#-Gb bV mb5 m7b5 m9b5
P1P2 L5L1 9 E III s2s4 s2s4#5 s2s4#5*
P1P2 L5L1 10 C I b5 6b5 6b5*
P1P2 L5L1 11 G#-Ab #V #5 7#5 7#5b9
P1P2 L5L1 12 F IV m mM7 m M7b9
P1P2 L5L1 13 C I s4#5(3) s4#5* s4#5*b11
P1P2 L5L1 14 G V s4(5)
P1P2 L5L3 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L5L3 4 F#-Gb bV mb5
P1P2 L5L3 5 E III s2s4 s2s4#5
P1P2 L5L3 6 C I b5 6b5 6b5*
P1P2 L5L3 7 A VI m m6 m6*
P1P2 L5L3 8 F IV Maj M7 M7b9
P1P2 L5L3 9 E III s4b2(5)
P1P2 L5L3 10 C I s4(5) 6s4(5) 6s4*(5)
P1P2 L5L3 11 G V 6s4(5)
P1P2 L5L3 12 F IV s2(3)
P1P2 L5L3 13 C I s4(3) s4*(3) s4*b11
P1P2 L5L3 14 G V s4(5) 7s4*(5)
P1P2 L2L5 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L2L5 4 G V s2(5)
P1P2 L2L5 5 E III ms4(5) ms4
P1P2 L2L5 6 C I Maj 6 6M7
P1P2 L2L5 7 A#-Bb bVII s2b5(3)
P1P2 L2L5 8 F IV s4(3) M7s4 M9s4
P1P2 L2L5 9 E III b5b2(3)
P1P2 L2L5 10 C I s4(5) 7s4(5) 7s4*(5)
P1P2 L2L5 11 G V 6s4(5)
P1P2 L2L5 12 F IV s2(3) M7s2*
P1P2 L2L5 13 C I s4(3) s4*(3) s4*b11
P1P2 L2L5 14 G V s4(5) 7s4*(5)
P1P2 L2L5L1 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L2L5L1 4 G#-Ab #V mb2(5)
P1P2 L2L5L1 5 E III s4(5) s4
P1P2 L2L5L1 6 C I #5 6#5 6#5M7
P1P2 L2L5L1 7 A#-Bb bVII s2b5(3)
P1P2 L2L5L1 8 F#-Gb bV b5 7 b5 9b5
P1P2 L2L5L1 9 E III s2b5(3)
P1P2 L2L5L1 10 C I b5 7b5 7b5*
P1P2 L2L5L1 11 G#-Ab #V #5 7#5 9#5
P1P2 L2L5L1 12 F IV m mM7 mM7b9
P1P2 L2L5L1 13 C I s4#5(3) s4#5* s4#5*b11
P1P2 L2L5L1 14 G V s4(5)
P1P2 L2 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L2 4 G V s2(5)
P1P2 L2 5 E III ms4(5) ms4
P1P2 L2 6 C I Maj 6 6M7
P1P2 L2 7 A#-Bb bVII s2b5(3)
P1P2 L2 8 G V ms4(5)
P1P2 L2 9 E III mb5
P1P2 L2 10 C I Maj 7 7*
P1P2 L2 11 G V 6s4(5) 6s4*(5)
P1P2 L2 12 E III m#5 m#5* m#5*#9
P1P2 L2 13 C I Maj * *b11
P1P2 L2 14 G V 6s4(5) 6s4*(5) 6s4*11(5)
P1P2 L2L1 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L2L1 4 G#-Ab #V mb2(5)
P1P2 L2L1 5 E III s4(5) s4
P1P2 L2L1 6 C I #5 6#5 6#5M7
P1P2 L2L1 7 A#-Bb bVII s2b5(3)
P1P2 L2L1 8 G#-Ab #V s2(5) s2#5 s2#5*
P1P2 L2L1 9 E III b5
P1P2 L2L1 10 C I #5 7#5 7#5*
P1P2 L2L1 11 G#-Ab #V #5 #5* 9#5*
P1P2 L2L1 12 E III #5 #5* #5*b11
P1P2 L2L1 13 C I #5 #5* #5*b11
P1P2 L2L1 14 G V 6s4(5)
P1P2 L2L3 FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1P2 L2L3 4 F#-Gb bV m s4(5)
P1P2 L2L3 5 E III s2s4 s2s4
P1P2 L2L3 6 C I b5 6b5 6b5M7
P1P2 L2L3 7 A#-Bb bVII s2b5(3)
P1P2 L2L3 8 F#-Gb bV b5 7b5 7b5*
P1P2 L2L3 9 E III s2b5(3)
P1P2 L2L3 10 C I b5 7b5 7b5 *
P1P2 L2L3 11 G V 6s4(3,5)
P1P2 L2L3 12 E III m#5 m#5* m9#5*
P1P2 L2L3 13 C I Maj * *b11
P1P2 L2L3 14 G V 6s4(5) 6s4*(5) 6s4*11(5)
P1 --- FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P1 --- 4 G V s2(5)
P1 --- 5 E III ms4(5) ms4
P1 --- 6 B VII s4#5(3) 7s4#5 7s4#5*
P1 --- 7 A VI s2(3) 7s2(3) 7s2*
P1 --- 8 G V s2(5) 6s2(5) 6s2*(5)
P1 --- 9 E III ms4(5) ms4 ms4*
P1 --- 10 B VII s4#5(3) 7s4#5 7s4#5*
P1 --- 11 G V 6(5) 6*(5) 6*9(5)
P1 --- 12 E III m m* m*#9
P1 --- 13 D II s2s4 6s2s4 6s2s49
P1 --- 14 G V 6(3) 6*(3) 6*b11(3)
P2 --- FRET 3
Changed Chord
STR # FRET 3 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE
P2 --- 4 G V s2s4
P2 --- 5 D II s4(3) 7s4(3)
P2 --- 6 C I s2(3) 6s2(3) 6s2*(3)
P2 --- 7 A VI ms4(5)
P2 --- 8 G V s2s4 s2s4(3) s2s4*
P2 --- 9 D II s4(3) 7s4(3) 7s4*
P2 --- 10 C I s2(3) 6s2(3) 6s2*(3)
P2 --- 11 G V s4(3) s4*(3) 9s4*(3)
P2 --- 12 E III m#5 m7#5 m7#5#9
P2 --- 13 C I Maj * 9*
P2 --- 14 G V 6 s4(5) 6s4*(5) 6s4*11 (5)
And here are the IV neck fret 3 chords sorted into a chord lookup table:
P1P2 L4L1 9 D#-Eb bIII
P1P2 L5 9 E III
P1P2 L2L1 11 G#-Ab #V #5 #5* 9#5*
P1P2 L2L1 12 E III #5 #5* #5*b11
P1P2 L2L1 13 C I #5 #5* #5*b11
P1P2 L5L1 6 C I #5 6#5 6#5*
P1P2 L2L5L1 6 C I #5 6#5 6#5M7
P1P2 L2L1 6 C I #5 6#5 6#5M7
P1P2 L2L1 10 C I #5 7#5 7#5*
P1P2 L5L1 11 G#-Ab #V #5 7#5 7#5b9
P1P2 L2L5L1 11 G#-Ab #V #5 7#5 9#5
P2 --- 14 G V 6 s4(5) 6s4*(5) 6s4*11 (5)
P1 --- 14 G V 6(3) 6*(3) 6*b11(3)
P1 --- 11 G V 6(5) 6*(5) 6*9(5)
P1P2 L4L3 12 D#-Eb bIII 6(5) 6*(5) 6*#9(5)
P1P2 L4L2L3 12 D#-Eb bIII 6(5) 6*(5) 6*#9(5)
P1P2 L4 12 D#-Eb bIII 6(5) 6*(5) 6*b11(5)
P1P2 L4L2 12 D#-Eb bIII 6(5) 6*(5) 6*b11(5)
P1P2 L2L3 11 G V 6s4(3,5)
P1P2 L3 11 G V 6s4(5)
P1P2 L5 11 G V 6s4(5)
P1P2 L5L3 11 G V 6s4(5)
P1P2 L2L5 11 G V 6s4(5)
P1P2 L2L1 14 G V 6s4(5)
P1P2 --- 11 G V 6s4(5) 6 s4 *
P1P2 L3 14 G V 6s4(5) 6 s4*(5)
P1P2 L2 11 G V 6s4(5) 6s4*(5)
P1P2 L4L1 12 D#-Eb bIII 6s4(5) 6s4*(5)
P1P2 L4L2L1 12 D#-Eb bIII 6s4(5) 6s4*(5) 6s4*11(5)
P1P2 --- 14 G V 6s4(5) 6s4*(5)
P1P2 L2 14 G V 6s4(5) 6s4*(5) 6s4*11(5)
P1P2 L2L3 14 G V 6s4(5) 6s4*(5) 6s4*11(5)
P1P2 L4L1 8 G#-Ab #V b2(5) b2 *b2
P1P2 L4L1 4 G#-Ab #V b2(5)
P1P2 L5L1 4 G#-Ab #V b2(5)
P1P2 L4L2 5 D#-Eb bIII b5
P1P2 L2L1 9 E III b5
P1P2 L4 5 D#-Eb bIII b5 6b5
P1P2 L3 6 C I b5 6b5 6b5*
P1P2 L5L3 6 C I b5 6b5 6b5*
P1P2 L2L3 6 C I b5 6b5 6b5M7
P1P2 L4L2L3 8 F#-Gb bV b5 6b5 6b5*
P1P2 L4 9 D#-Eb bIII b5 6b5 6b5*
P1P2 L3 10 C I b5 6b5 6b5*
P1P2 L5L1 10 C I b5 6b5 6b5*
P1P2 L2L5L1 8 F#-Gb bV b5 7 b5 9b5
P1P2 L2L3 8 F#-Gb bV b5 7b5 7b5*
P1P2 L2L3 10 C I b5 7b5 7b5 *
P1P2 L2L5L1 10 C I b5 7b5 7b5*
P1P2 L2L5 9 E III b5b2(3)
P1 --- 12 E III m m* m*#9
P1P2 L4 13 C I m m* m*#9
P1P2 L4L3 13 C I m m* m*#9
P1P2 L4L2 13 C I m m* m*#9
P1P2 L4L2L3 13 C I m m* m*#9
P1P2 L4 6 C I m m6 m6*
P1P2 L4L2 6 C I m m6 m6M7
P1P2 L3 7 A VI m m6 m6*
P1P2 L5L3 7 A VI m m6 m6*
P1P2 L4L2L3 9 D#-Eb bIII m m6 m6*
P1P2 L4 10 C I m m6 m6*
P1P2 --- 7 A VI m m7 m7*
P1P2 L5 7 A VI m m7 m7*
P1P2 L4L2 10 C I m m7 m7*
P1P2 L5L1 7 A VI m mM7 mM7*
P1P2 L5L1 12 F IV m mM7 m M7b9
P1P2 L2L5L1 12 F IV m mM7 mM7b9
P1P2 L3 12 E III m #5 m#5* m9#5*
P1P2 L4L3 5 D#-Eb bIII m b5 m6b5
P1P2 L4L3 6 C I m b5 m6b5 m6b5*
P1P2 L4L3 7 A VI m b5 m6b5 m6b5*
P1P2 L4L3 8 F#-Gb bV m b5 m6b5 m6b5*
P1P2 L4L3 9 D#-Eb bIII m b5 m6b5 m6b5*
P1P2 L4L3 10 C I m b5 m6b5 m6b5*
P1P2 L4L1 7 A VI m b5 mM7b5 mM7b5*
P1P2 L4L3 4 F#-Gb bV m b5
P1P2 L2L3 4 F#-Gb bV m s4(5)
P1P2 L4L1 6 C I m#5
P1P2 --- 12 E III m#5 m#5* m#5*#9
P1P2 L2 12 E III m#5 m#5* m#5*#9
P1P2 L2L3 12 E III m#5 m#5* m9#5*
P1P2 L4L1 13 C I m#5 m#5*
P1P2 L4L2L1 13 C I m#5 m#5* m#5*#9
P1P2 L4L2L1 6 C I m#5 m6#5 m6#5M7
P1P2 L4L1 10 C I m#5 m6#5 m6#5*
P1P2 L4L2L1 10 C I m#5 m7#5 m7#5*
P2 --- 12 E III m#5 m7#5 m7#5#9
P1P2 L4L1 11 G#-Ab #V Maj * *b9
P1P2 L4L2L1 11 G#-Ab #V Maj * 9*
P1P2 --- 13 C I Maj * *b11
P1P2 L3 13 C I Maj * *b11
P1P2 L2 13 C I Maj * *b11
P1P2 L2L3 13 C I Maj * *b11
P2 --- 13 C I Maj * 9*
P1P2 --- 6 C I Maj 6 6*
P1P2 L5 6 C I Maj 6 6*
P1P2 L2L5 6 C I Maj 6 6M7
P1P2 L2 6 C I Maj 6 6M7
P1P2 L4L2 9 D#-Eb bIII Maj 6 6*
P1P2 --- 10 C I Maj 6 6*
P1P2 L2 10 C I Maj 7 7*
P1P2 L5L3 8 F IV Maj M7 M7b9
P1P2 L5 8 F IV Maj M7 M9
P1P2 L4L2L1 4 G#-Ab #V mb2(5)
P1P2 L2L5L1 4 G#-Ab #V mb2(5)
P1P2 L2L1 4 G#-Ab #V mb2(5)
P1P2 L4L2L3 5 D#-Eb bIII mb5
P1P2 L2 9 E III mb5
P1P2 L4L2L3 6 C I mb5 m6b5
P1P2 L4 7 A VI mb5 m7b5 m7b5*
P1P2 L3 8 F#-Gb bV mb5 m7b5 m7b5*
P1P2 L5L1 8 F#-Gb bV mb5 m7b5 m9b5
P1P2 L4L2L3 10 C I mb5 m7b5 m7b5*
P1P2 L3 4 F#-Gb bV mb5
P1P2 L5L3 4 F#-Gb bV mb5
P2 --- 7 A VI ms4(5)
P1P2 L2 8 G V ms4(5)
P1P2 L2L5 5 E III ms4(5) ms4
P1P2 L2 5 E III ms4(5) ms4
P1 --- 5 E III ms4(5) ms4
P1 --- 9 E III ms4(5) ms4 ms4*
P1P2 --- 5 E III ms4(5) ms4#5
P1P2 L5 5 E III ms4(5) ms4#5
P1P2 --- 9 E III ms4(5) ms4#5 ms4#5*
P1P2 L4L2L3 4 F#-Gb bV ms4(5)
P1P2 L4L2 8 G V ms4(5,) ms4#5 ms4#5*
P1P2 L5L3 12 F IV s2(3)
P1P2 L2L5 12 F IV s2(3) M7s2*
P2 --- 6 C I s2(3) 6s2(3) 6s2*(3)
P2 --- 10 C I s2(3) 6s2(3) 6s2*(3)
P1 --- 7 A VI s2(3) 7s2(3) 7s2*
P1P2 L5 12 F IV s2(3) M7s2(3)
P1 --- 8 G V s2(5) 6s2(5) 6s2*(5)
P1P2 L4L2L1 8 G#-Ab #V s2(5) s2 s2*
P1P2 L2L1 8 G#-Ab #V s2(5) s2#5 s2#5*
P1P2 L4L2 4 G V s2(5)
P1P2 L2L5 4 G V s2(5)
P1P2 L2 4 G V s2(5)
P1 --- 4 G V s2(5)
P1P2 L2L5 7 A#-Bb bVII s2b5(3)
P1P2 L2L5L1 7 A#-Bb bVII s2b5(3)
P1P2 L2 7 A#-Bb bVII s2b5(3)
P1P2 L2L1 7 A#-Bb bVII s2b5(3)
P1P2 L2L3 7 A#-Bb bVII s2b5(3)
P1P2 L2L5L1 9 E III s2b5(3)
P1P2 L2L3 9 E III s2b5(3)
P1P2 L4L2 7 A#-Bb bVII s2s4 6s2s4
P1P2 --- 8 G V s2s4 6s2s4 6s2s4*
P1 --- 13 D II s2s4 6s2s4 6s2s49
P1P2 L4L2L1 7 A#-Bb bVII s2s4 7s2s4
P1P2 L2L3 5 E III s2s4 s2s4
P1P2 L3 5 E III s2s4 s2s4#5
P1P2 L5L3 5 E III s2s4 s2s4#5
P1P2 L4L2L3 7 A#-Bb bVII s2s4 s2s4#5
P1P2 L4 8 G V s2s4 s2s4#5 s2s4#5*
P1P2 L3 9 E III s2s4 s2s4#5 s2s4#5*
P1P2 L5L1 9 E III s2s4 s2s4#5 s2s4#5*
P2 --- 8 G V s2s4 s2s4(3) s2s4*
P1P2 --- 4 G V s2s4
P1P2 L4 4 G V s2s4
P1P2 L5 4 G V s2s4
P2 --- 4 G V s2s4
P1P2 L4L3 11 G V s4#5
P1P2 L4L2L3 11 G V s4#5
P1P2 L4 11 G V s4#5 s4 #5* 9s4#5*
P1P2 L4L3 14 G V s4#5 s4#5*
P1P2 L4 14 G V s4#5 s4#5* 11s4#5*
P1P2 L4L2L3 14 G V s4#5 s4#5* 11s4#5*
P1P2 L4L1 14 G V s4#5 s4#5b9
P1P2 L4L2L1 14 G V s4#5 s4#5b9
P1 --- 6 B VII s4#5(3) 7s4#5 7s4#5*
P1 --- 10 B VII s4#5(3) 7s4#5 7s4#5*
P1P2 L4L2 11 G V s4#5(3) s4 #5* s4#5*#9
P1P2 L5L1 13 C I s4#5(3) s4#5* s4#5*b11
P1P2 L2L5L1 13 C I s4#5(3) s4#5* s4#5*b11
P1P2 L4L2 14 G V s4#5(3) s4#5* 11s4#5*
P1P2 L4L2L1 9 D#-Eb bIII s4(3) 6s4(3) 6s4*
P2 --- 5 D II s4(3) 7s4(3)
P2 --- 9 D II s4(3) 7s4(3) 7s4*
P1P2 L2L5 8 F IV s4(3) M7s4 M9s4
P2 --- 11 G V s4(3) s4*(3) 9s4*(3)
P1P2 L5L3 13 C I s4(3) s4*(3) s4*b11
P1P2 L2L5 13 C I s4(3) s4*(3) s4*b11
P1P2 L5 13 C I s4(3) s4*(3) s4*b11(3)
P1P2 L5 14 G V s4(3,5) 7s4*(5) 11s4*5,)
P1P2 L5L1 14 G V s4(5)
P1P2 L2L5L1 14 G V s4(5)
P1P2 L5 10 C I s4(5) 6s4(5) 6s4*(5)
P1P2 L5L3 10 C I s4(5) 6s4(5) 6s4*(5)
P1P2 L2L5 10 C I s4(5) 7s4(5) 7s4*(5)
P1P2 L5L3 14 G V s4(5) 7s4*(5)
P1P2 L2L5 14 G V s4(5) 7s4*(5)
P1P2 L2L5L1 5 E III s4(5) s4
P1P2 L2L1 5 E III s4(5) s4
P1P2 L5L1 5 E III s4(5) s4#5
P1P2 L5L3 9 E III s4b2(5)
P1P2 L4L2L1 5 D#-Eb bIII s4b5
P1P2 L4L1 5 D#-Eb bIII s4b5(3) 6s4b5
Maybe we will do the V neck fret 1=C=I=1=R. The small C6/B6 neck would not have the C6 P4 thru P8 and L2<&>...The large C6/B6 neck would.[This message was edited by ed packard on 13 November 2005 at 10:54 AM.] |
tom anderson
Member From: leawood, ks., usa
|
posted 12 November 2005 07:47 PM
profile
There is another Sierra U-14 for sale on E-bay. Not keyless, but I prefer keyed guitars anyway. You better go for this one. |
Russ Tkac
Member From: Waterford, Michigan, USA
|
posted 12 November 2005 08:12 PM
profile
And a Sierra U12 on Craigs List for $1200.
http://portland.craigslist.org/msg/105841185.html |
MUSICO
Member From: Jeremy Williams in Spain
|
posted 13 November 2005 10:43 AM
profile
I looked at the sierra 14 string on ebay. It looks sort of primitive to me, comparing it with my Carter U12.I am thinking 14 string and only wish I could buy a new Carter or Millenium. By the way...and just for the record....all this talk about the low strings being too thick and two slack does not apply to what i would like to do. Id like to have three chromatic strings on top D#, C# and F#. Also a Low C# (not sure if 13th string or 10th string). A sort of Universal E69. Al marcus would be proud of me. Jeremy Williams
Barcelona Spain |
MUSICO
Member From: Jeremy Williams in Spain
|
posted 13 November 2005 10:49 AM
profile
¿How much (time and money) is an excel 14?Jeremy Williams
Barcelona Spain. |
ed packard
Member From: Show Low AZ
|
posted 13 November 2005 02:44 PM
profile
And here are the chord locator charts for the PST 14 string V neck on the 1st fret =C6 on a B6 machine. C=I=1. These are the chords for the LITTLE C6 neck = no lock, no P4 thru P8, and no L2>&<.Remember from the P1P2 series above, that the top 3 strings are not in the E9 order, and that the levers are designated L1, L2, L3, L4, L5 as opposed to the more common L<, L^, L>, R<, R>. This because of posting issues. L2 --- FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 --- 4 E III ms4(5)
L3 --- 5 C I Maj 6
L3 --- 6 A VI m m7 m7*
L3 --- 7 G V
L3 --- 8 E III ms4(5) ms4#5 ms4#5*
L3 --- 9 C I Maj 6 6*
L3 --- 10 A VI m m7 m7*
L3 --- 11 F IV Maj M7 M9 M9b11
L3 --- 12 D II m m7 m9 m11
L3 --- 13 C I
L3 --- 14 F IV 6(3) 6*(3)
L3 P2 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 P2 4 E III m#5
L3 P2 5 C I Maj 7
L3 P2 6 A#-Bb bVII
L3 P2 7 G V ms4(5) m6s4(5) m6s4*(5)
L3 P2 8 E III m#5
L3 P2 9 C I Maj 7 7*
L3 P2 10 A#-Bb bVII
L3 P2 11 F IV s4(3) M7s4(3) M9s4(3) M11s4(3)
L3 P2 12 D II m#5 m7#5 m9#5 m11#5
L3 P2 13 A#-Bb bVII Maj * 9*
L3 P2 14 F IV 6s4(5) 6s4*(5)
L3 L1 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 L1 4 F IV
L3 L1 5 C I s4(3) 6s4(3)
L3 L1 6 A VI m#5 m7#5 m7#5*
L3 L1 7 G V
L3 L1 8 F IV
L3 L1 9 C I s4(3) 6s4(3) 6 s4 *(3, )
L3 L1 10 A VI m#5 m7#5 m7#5*
L3 L1 11 F#-Gb bV m#5 m M7 b5 mM7b5b9
L3 L1 12 D II Maj 7 7#9 11#9
L3 L1 13 C I
L3 L1 14 F IV 6(3) 6b9(3) 6b9 b11 (3)
L3 L2 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 L2 4 E III m(5)
L3 L2 5 C I Maj #5
L3 L2 6 A VI m m7
L3 L2 7 G#-Ab #V
L3 L2 8 E III s4(5) s4#5 s4#5*
L3 L2 9 C I #5 6#5 6#5*
L3 L2 10 A VI m mM7 mM7*
L3 L2 11 F IV Maj M7 M7#9 M7#9b11
L3 L2 12 D II m m7 m9 m 9#11
L3 L2 13 C I
L3 L2 14 F IV 6(3) 6*(3)
L3 L2P2 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 L2P2 4 E III ms4(5)
L3 L2P2 5 C I Maj 6
L3 L2P2 6 A#-Bb bVII
L3 L2P2 7 G#-Ab #V
L3 L2P2 8 E III b5
L3 L2P2 9 C I #5 7#5 7#5*
L3 L2P2 10 A#-Bb bVII
L3 L2P2 11 F IV s4(3) M7s4(3)
L3 L2P2 12 D II m#5 m7#5 m9#5 m9#5#11
L3 L2P2 13 A#-Bb bVII Maj * 9*
L3 L2P2 14 F IV 6s4(5) 6s4*(5)
L3 P1 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 P1 4 E III ms4(5)
L3 P1 5 D II
L3 P1 6 A VI s4(3) 7s4(3) 7s4*(3)
L3 P1 7 G V
L3 P1 8 E III ms4(5) m7s4(5) m7s4*(5)
L3 P1 9 D II
L3 P1 10 A VI s4(3) 7s4(3) 7s4*(3)
L3 P1 11 F IV 6(5) 6M7(5) 6M9 (5)
L3 P1 12 D II m m* m9*
L3 P1 13 C I
L3 P1 14 F IV 6(3) 6*(3)
L3 L2P1 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 L2P1 4 E III m(5)
L3 L2P1 5 D II
L3 L2P1 6 A VI s4(3) 7s4(3)
L3 L2P1 7 G#-Ab #V
L3 L2P1 8 E III s4(5) 7s4(5) 7s4*(5)
L3 L2P1 9 D II
L3 L2P1 10 A VI s4(3) M7s4(3) M7s4*(3)
L3 L2P1 11 F IV 6(5) 6M7(5) 6M7#9(5)
L3 L2P1 12 D II m m* m9*
L3 L2P1 13 C I
L3 L2P1 14 F IV 6(3) 6*(3)
L3 L4 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 L4 4 E III ms4(5)
L3 L4 5 B VII s4#5 7s4#5
L3 L4 6 A VI
L3 L4 7 G V
L3 L4 8 E III ms4(5) ms4 ms4*
L3 L4 9 B VII s4 #5 7s4#5 7s4#5*
L3 L4 10 A VI
L3 L4 11 F IV b5 M7b5 M9b5 M9b5b11
L3 L4 12 C#-Db bII #5 7#5 7#5#9
L3 L4 13 C I
L3 L4 14 F IV #5(3) #5*(3)
L3 L2L4 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 L2L4 4 E III m(5)
L3 L2L4 5 B VII s4#5 6s4#5
L3 L2L4 6 A VI
L3 L2L4 7 G#-Ab #V
L3 L2L4 8 E III s4(5) s4 s4*
L3 L2L4 9 B VII 6s4(5) 6s47(5)
L3 L2L4 10 A VI
L3 L2L4 11 F IV b5 M7b5 M7b5#9 M7b5#9b11
L3 L2L4 12 C#-Db bII #5 7#5 7#5#9
L3 L2L4 13 C I
L3 L2L4 14 F IV #5(3) #5*(3)
L3 P2L4 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 P2L4 4 E III m#5
L3 P2L4 5 B VII s4#5(3)
L3 P2L4 6 A#-Bb bVII
L3 P2L4 7 G V m(5) m6(5) m6*(5)
L3 P2L4 8 E III m#5 mb5 mb5*
L3 P2L4 9 B VII s4#5(3)
L3 P2L4 10 A#-Bb bVII
L3 P2L4 11 F IV
L3 P2L4 12 C#-Db bII 6(5) 67(5)
L3 P2L4 13 A#-Bb bVII m m* m*b9
L3 P2L4 14 F IV s4#5(3) s4#5*
L3 L2P2L4 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 L2P2L4 4 E III ms4(5)
L3 L2P2L4 5 B VII s4#5 7s4#5
L3 L2P2L4 6 A#-Bb bVII
L3 L2P2L4 7 G#-Ab #V
L3 L2P2L4 8 E III b5 b5 b5*
L3 L2P2L4 9 B VII 6s4(5) 6s4M7(5)
L3 L2P2L4 10 A#-Bb bVII
L3 L2P2L4 11 F IV
L3 L2P2L4 12 C#-Db bII 6(5) 67(5)
L3 L2P2L4 13 A#-Bb bVII m m* m*b9
L3 L2P2L4 14 F IV s4#5(3) s4#5*
L3 L5 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 L5 4 E III ms4(5)
L3 L5 5 C I Maj 6
L3 L5 6 A VI m m7 m7*
L3 L5 7 G V
L3 L5 8 D#-Eb bIII b5 6b5 6b5b9
L3 L5 9 C I m m6 m6*
L3 L5 10 A VI m#5 m7b5 m7b5*
L3 L5 11 F IV Maj 7 9 9b11
L3 L5 12 D#-Eb bIII
L3 L5 13 C I ms4(5) m6s4(5) m6s4*(5)
L3 L5 14 F IV (3, ) 7*(3,)
L3 P2L5 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 P2L5 4 E III m#5
L3 P2L5 5 C I Maj 7
L3 P2L5 6 A#-Bb bVII
L3 P2L5 7 G V ms4(5) m6s4(5) m6s4*(5)
L3 P2L5 8 D#-Eb bIII Maj 6 6b9 6b9b11(7)
L3 P2L5 9 C I m m7 m7*
L3 P2L5 10 A#-Bb bVII
L3 P2L5 11 F IV s4(3) 7 s4(3) 9s4(3) 11s4(3)
L3 P2L5 12 D#-Eb bIII
L3 P2L5 13 A#-Bb bVII s4(3) s4*(3) 9s4*(3)
L3 P2L5 14 F IV s4(5) 7s4*(5)
L3 L2P2L5 FRET 1
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 L2P2L5 4 E III ms4(5)
L3 L2P2L5 5 C I Maj 6
L3 L2P2L5 6 A#-Bb bVII
L3 L2P2L5 7 G#-Ab #V
L3 L2P2L5 8 D#-Eb bIII s4(3) 6s4(3) 6s4b9(3) 6s4b9b11(7)
L3 L2P2L5 9 C I m#5 m7#5 m7#5*
L3 L2P2L5 10 A#-Bb bVII
L3 L2P2L5 11 F IV s4(3) 7s4(3) 7s4#9(3)
L3 L2P2L5 12 D#-Eb bIII
L3 L2P2L5 13 A#-Bb bVII s4(3) s4*(3) 9s4*(3)
L3 L2P2L5 14 F IV s4(5) 7s4*(5)
L3 P1L5
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 P1L5 4 E III ms4(5)
L3 P1L5 5 D II
L3 P1L5 6 A VI s4(3) 7s4(3) 7s4*(3)
L3 P1L5 7 G V
L3 P1L5 8 D#-Eb bIII b5 M7b5 M7b5b9 M7b5b9b11
L3 P1L5 9 D II
L3 P1L5 10 A VI
L3 P1L5 11 F IV 6(5) 67(5)
L3 P1L5 12 D#-Eb bIII
L3 P1L5 13 C I ms4(5) m6s4(5) m6s49 (5)
L3 P1L5 14 F IV (3, ) 7*(3)
L3 L2P1L5
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONE
L3 L2P1L5 4 E III m(5)
L3 L2P1L5 5 D II s2s4 s2s4b5
L3 L2P1L5 6 A VI s4(3) 7s4(3)
L3 L2P1L5 7 G#-Ab #V
L3 L2P1L5 8 D#-Eb bIII
L3 L2P1L5 9 D II
L3 L2P1L5 10 A VI
L3 L2P1L5 11 F IV 6(5) 67(5)
L3 L2P1L5 12 D#-Eb bIII
L3 L2P1L5 13 C I ms4(5) m6s4(5) m6s49(5)
L3 L2P1L5 14 F IV (3,) 7*(3)
And the sorted lookup list for the V neck fret 1 = C.
Changed Chord
STR # FRET 1 DESIG' CHORD TYPES
NOTES CLAS' 3 TONE 4 TONE 5 TONE 6 TONEL3 L2 9 C I #5 6#5 6#5*
L3 L4 12 C#-Db bII #5 7#5 7#5#9
L3 L2L4 12 C#-Db bII #5 7#5 7#5#9
L3 L2P2 9 C I #5 7#5 7#5*
L3 L4 14 F IV #5(3) #5*(3)
L3 L2L4 14 F IV #5(3) #5*(3)
L3 P1L5 14 F IV (3, ) 7*(3)
L3 L5 14 F IV (3, ) 7*(3)
L3 L2P1L5 14 F IV (3,) 7*(3)
L3 --- 14 F IV 6(3) 6*(3)
L3 L2 14 F IV 6(3) 6*(3)
L3 P1 14 F IV 6(3) 6*(3)
L3 L2P1 14 F IV 6(3) 6*(3)
L3 L1 14 F IV 6(3) 6b9(3) 6b9 b11 (3)
L3 P2L4 12 C#-Db bII 6(5) 67(5)
L3 L2P2L4 12 C#-Db bII 6(5) 67(5)
L3 P1L5 11 F IV 6(5) 67(5)
L3 L2P1L5 11 F IV 6(5) 67(5)
L3 L2P1 11 F IV 6(5) 6M7(5) 6M7#9(5)
L3 P1 11 F IV 6(5) 6M7(5) 6M9 (5)
L3 P2 14 F IV 6s4(5) 6s4*(5)
L3 L2P2 14 F IV 6s4(5) 6s4*(5)
L3 L2L4 9 B VII 6s4(5) 6s47(5)
L3 L2P2L4 9 B VII 6s4(5) 6s4M7(5)
L3 L2P2 8 E III b5
L3 L5 8 D#-Eb bIII b5 6b5 6b5b9
L3 L2P2L4 8 E III b5 b5 b5*
L3 L2L4 11 F IV b5 M7b5 M7b5#9 M7b5#9b11
L3 P1L5 8 D#-Eb bIII b5 M7b5 M7b5b9 M7b5b9b11
L3 L4 11 F IV b5 M7b5 M9b5 M9b5b11
L3 P2L4 13 A#-Bb bVII m m* m*b9
L3 L2P2L4 13 A#-Bb bVII m m* m*b9
L3 P1 12 D II m m* m9*
L3 L2P1 12 D II m m* m9*
L3 L5 9 C I m m6 m6*
L3 --- 6 A VI m m7 m7*
L3 --- 10 A VI m m7 m7*
L3 L5 6 A VI m m7 m7*
L3 P2L5 9 C I m m7 m7*
L3 --- 12 D II m m7 m9 m11
L3 L2 12 D II m m7 m9 m 9#11
L3 L2 6 A VI m m7
L3 L2 10 A VI m mM7 mM7*
L3 P2 8 E III m#5
L3 L1 11 F#-Gb bV m#5 m M7 b5 mM7b5b9
L3 L1 6 A VI m#5 m7#5 m7#5*
L3 L1 10 A VI m#5 m7#5 m7#5*
L3 L2P2L5 9 C I m#5 m7#5 m7#5*
L3 P2 12 D II m#5 m7#5 m9#5 m11#5
L3 L2P2 12 D II m#5 m7#5 m9#5 m9#5#11
L3 L5 10 A VI m#5 m7b5 m7b5*
L3 P2L4 8 E III m#5 mb5 mb5*
L3 P2 4 E III m#5
L3 P2L4 4 E III m#5
L3 P2L5 4 E III m#5
L3 P2L4 7 G V m(5) m6(5) m6*(5)
L3 L2 4 E III m(5)
L3 L2P1 4 E III m(5)
L3 L2L4 4 E III m(5)
L3 L2P1L5 4 E III m(5)
L3 L2 5 C I Maj #5
L3 P2 13 A#-Bb bVII Maj * 9*
L3 L2P2 13 A#-Bb bVII Maj * 9*
L3 --- 5 C I Maj 6
L3 L2P2 5 C I Maj 6
L3 L5 5 C I Maj 6
L3 L2P2L5 5 C I Maj 6
L3 --- 9 C I Maj 6 6*
L3 P2L5 8 D#-Eb bIII Maj 6 6b9 6b9b11(7)
L3 P2 5 C I Maj 7
L3 P2L5 5 C I Maj 7
L3 L1 12 D II Maj 7 7#9 11#9
L3 P2 9 C I Maj 7 7*
L3 L5 11 F IV Maj 7 9 9b11
L3 L2 11 F IV Maj M7 M7#9 M7#9b11
L3 --- 11 F IV Maj M7 M9 M9b11
L3 P2 7 G V ms4(5) m6s4(5) m6s4*(5)
L3 L5 13 C I ms4(5) m6s4(5) m6s4*(5)
L3 P2L5 7 G V ms4(5) m6s4(5) m6s4*(5)
L3 P1L5 13 C I ms4(5) m6s4(5) m6s49 (5)
L3 L2P1L5 13 C I ms4(5) m6s4(5) m6s49(5)
L3 P1 8 E III ms4(5) m7s4(5) m7s4*(5)
L3 L4 8 E III ms4(5) ms4 ms4*
L3 --- 8 E III ms4(5) ms4#5 ms4#5*
L3 --- 4 E III ms4(5)
L3 L2P2 4 E III ms4(5)
L3 P1 4 E III ms4(5)
L3 L4 4 E III ms4(5)
L3 L2P2L4 4 E III ms4(5)
L3 L5 4 E III ms4(5)
L3 L2P2L5 4 E III ms4(5)
L3 P1L5 4 E III ms4(5)
L3 L2P1L5 5 D II s2s4 s2s4b5
L3 L4 9 B VII s4 #5 7s4#5 7s4#5*
L3 L2L4 5 B VII s4#5 6s4#5
L3 L4 5 B VII s4#5 7s4#5
L3 L2P2L4 5 B VII s4#5 7s4#5
L3 P2L4 5 B VII s4#5(3)
L3 P2L4 9 B VII s4#5(3)
L3 P2L4 14 F IV s4#5(3) s4#5*
L3 L2P2L4 14 F IV s4#5(3) s4#5*
L3 L1 5 C I s4(3) 6s4(3)
L3 L1 9 C I s4(3) 6s4(3) 6 s4 *(3, )
L3 L2P2L5 8 D#-Eb bIII s4(3) 6s4(3) 6s4b9(3) 6s4b9b11(7)
L3 P2L5 11 F IV s4(3) 7 s4(3) 9s4(3) 11s4(3)
L3 L2P1 6 A VI s4(3) 7s4(3)
L3 L2P1L5 6 A VI s4(3) 7s4(3)
L3 L2P2L5 11 F IV s4(3) 7s4(3) 7s4#9(3)
L3 P1 6 A VI s4(3) 7s4(3) 7s4*(3)
L3 P1 10 A VI s4(3) 7s4(3) 7s4*(3)
L3 P1L5 6 A VI s4(3) 7s4(3) 7s4*(3)
L3 L2P2 11 F IV s4(3) M7s4(3)
L3 L2P1 10 A VI s4(3) M7s4(3) M7s4*(3)
L3 P2 11 F IV s4(3) M7s4(3) M9s4(3) M11s4(3)
L3 P2L5 13 A#-Bb bVII s4(3) s4*(3) 9s4*(3)
L3 L2P2L5 13 A#-Bb bVII s4(3) s4*(3) 9s4*(3)
L3 L2P1 8 E III s4(5) 7s4(5) 7s4*(5)
L3 P2L5 14 F IV s4(5) 7s4*(5)
L3 L2P2L5 14 F IV s4(5) 7s4*(5)
L3 L2L4 8 E III s4(5) s4 s4*
L3 L2 8 E III s4(5) s4#5 s4#5*
And we will leave the BIG C6/B6 for another day. Suffice to say that it has all that the 10 string C6 has, and then some.[This message was edited by ed packard on 13 November 2005 at 04:50 PM.] |
ed packard
Member From: Show Low AZ
|
posted 13 November 2005 04:55 PM
profile
Charlie, and others: Perhaps the chord charts given will help in the decision of 10, 12, 14 strings. Some alternatives to the standards have been offered, as well as an expansion of the E9/B6 12 stringer. There is a lot more. | |
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