Carl specifically referred to a 9th chord position:

string   note    fret    scale tone
1        E       12      9   
2        C       12      b7
4        F#      11      3

which is a D9 chord or II Dominant found on the C fret. If this chord formation is moved one fret lower what you now have is a G7+ or V7 augmented, as shown

string  note    fret    scale tone
1       D#      11      #5
2       B       11      3
4       F       10      b7

Since this is an augmented chord, it can be moved every 4 frets and a different inversion, with other chord extensions, can be found.

This is a neat II-V-I progression when it resolves to C as a straight bar position on the 12th fret, like so:

  D9       G7+       C6
__12__12___11__11______
__12__12___11__11____12__
_____________________12__
__11__11___10__10_______
_____________________12__
_________________________  

This same chord formation, on other strings, gives a dominant 7th chord, as shown on this G7:

string  note    fret    scale tone
2       D       14      5
3       B       14      3
5       F       13      b7

If this dominant 7th chord is moved down two frets, it becomes a IV7 chord, very useful in blues progressions, as shown

string   note    fret    scale tone
2        C       12      5
3        A       12      3
5        Eb      11      b7

When this G7 chord is moved down 3 frets it becomes another G7-type chord, a G7b9, as shown:

string  note    fret    scale tone
2       B       11      3
3       Ab      11      b9
5       D       10      b7

So a common resolution might be a IV7-V-I progression:

  F9       G7--G7b9  C6
_________________________
__12__12___14--11____12__
__12__12___14--11____12__
________________________
__11__11___13--10____12__

There's lots more of this stuff to be found. Good hunting.

------------------
Herb's Steel Guitar Pages
Texas Steel Guitar Association

[This message was edited by Herb Steiner on 15 June 2004 at 10:59 AM.]

Roy

[This message was edited by Roy Thomson on 15 June 2004 at 12:21 PM.]

That dominant 7th position is also a diminished triad, BTW, but that there's also a whole 'nuther lesson.

------------------
Herb's Steel Guitar Pages
Texas Steel Guitar Association

Start with the D9 chord position noted above:

string   note    fret    scale tone
1        E        12       9     
2        C        12       b7
4        F#       11        3

string   note    fret    scale tone
1        E       12       6 
2        B       11       3
3        G       10       1

Modified by Brad Bechtel to improve formatting.

       B7     E7    A6 
  E ----------------9-|
  C  ---6-----------9-|
  A  ---6-----7-----9-|
  G  ---------7-----9-|
  E  ---5-----7-------|
 C#  ---------7-------|

       B7      E7       A6
  E --------------7--------|
  C ------------8-------9--|
  A -----7-----------------|
  G ----7------------------|
  E -----------------------|
 C# -----------------------|

[This message was edited by Jesse Pearson on 17 June 2004 at 10:33 AM.]

A major

E-E
C--C#
A
G----A

C7th

E-E
C-C
A--Bb
G
E
C

Fmajor

E
C-C
A-A
G
E--F
C

F# minor

   E
   C-C#
   A
F#-G
   E
   C

E6

E-E
C--C#
A---B
G
E
C

G7th
 
  E
B-C
  A
  G <--pick this string also
  E-F
  C

Note: after picking the triad G7th above, straigten the bar to take you to C or; a V7 to I chord resolve. One of Jerry's classics.

F major (1st inversion)

E
C
A
G---A
E--F
C-C

Eb major

   E
   C
   A-Bb
   G
Eb-E
   C

A7th

E
C
A
G-G
E-E
C--C#

(or part of a C# diminished)

Sure, it takes practice, and in some cases a great deal of practice. And of course, there is probably no human on earth that can do it like Jerry, but one can attain some very satisfactory work with diligent practice and the will to succeed.

May Jesus bless all your quests,

carl

[This message was edited by C Dixon on 16 June 2004 at 09:41 AM.]

Harry from sunny Vancouver Island (today anyway)