9th. « - C64h Compariaon ee cous we, Kl Keo Co) eg Eg My ee Peake ob OE Bb & Bh ¢ = 3 oe ee x ok 5 BS o geo F & ce oce # ; £ a s & & & beer Example (a) illarrates some of Avany: abou, the, function of knee 1a hig caps the faneton of tevet US tortie Bin eunings compared the" two" nseTivers i Wdewthoal terinee Ce) ofthe eben The Penly Bohne ioet'B: for the” EK stucrence ie the “Shang of the “Tne Mining ad Bye en the got note of the ath, whereas the oot note t ‘fone and th ve both Git tminor and &'major 70h in the E position, ‘The Basie Céth Pedal Ser xo EGS Th poms 20 be in moet penne eo ix pram 3 coal SRE 8 i Sas ets iS Lemmas tin bath "he"Bnkt Set “et FSi ne OE ing hyn haa ete EMT ad, Seance atl You can think of pedal & as you would the (a) and (8) pedal on he 69th tuning. If you are in the hey of Gy pedal 6 will give you an F chord without moving Your bat, and & & chord, ewe frets up Trem the soot posit peTheory -- © CMa, 66 CMT cr ce cB An a G2 Pil E10 D's o 9 cs a7 1 hm hm a6 ‘ @s 5 5 sos os os Ba Es 303 Eee eee) D2 chimes hoa ot Example (c) illustrates chord construction starting with the © Major trind (1y 3, and 5)y- and. ending with the c tath chord The ‘number system for chords. stops R7 due tothe fact that there ate nly 7 chords to Aical with All other chords in. between are designated by flats and Sharpe. Construction of chords roqures. the lube of numbers up tothe 13th dageee.. By starting. with the € major triad and adding the 6th tone of the scale, the chord becomes C6th and. gives an otherwise bland Sounding chord a new and different sound. "The C6 and C E'(aDajor 7 chords ase somewhat atch sounding compared to the mellow texture of the dominant 7th (C2). ‘The 9th ‘Added to the cop of the 7th chord adds more richness 0 the sound. ‘The’ 15th becomes somewhat dissonant due to ke'being@ 6th tone one ‘octave above. If_you were to place it next tothe 7b in the chord, it would become ‘ery unpleasant to the ear. “The chord chart diagrams illustrate the chords in. the CC chord position at the 12th fret. The top chart gives You the chord. change from the C_ position and the bottom Metal GaSe wherein nlute the her fae nf chanel. This A Matter OF Fact for the key of ie open or on the 12th fret. ‘The key SEAMS WP ue sin feel, Bon the Suh, and "on, Once you establish. these positions in yout mind, and know Row many frets above or below zero the bar needs (0 be” placed for each corresponding pedal, you will. be free’ to concenteate on some of tne finer aspects of the Goth ‘tuning, such. a2 Bow to play melodios with the pedals. ‘Each pedal: chart contains X's marking the acceptable strings for each chord. Yoo will also find. numbers next fo some of the X's that supply the chord construction Fer each Uninatked X's are merely repeat notes Of the onginal chord. Krowing and being able to heat the tones within the chores will be useful to you when you heer thei being played. by others. 1 think it's orth pointing ovt that" any time you heer of see @ 7th Chord written’ on a piece of music, the use of the 9th or igen chowd {is acceptable due to! the 7th chord being the foundation for both. ‘The leaning process for the Céth tuning is somewhat ‘more difficult compared to the E9th tuning. ~The basic Tuning. lacks the near structure of the Eth, therefore mmore bar movement is necessary to play whole and half ono imervalz, Don't ever underestimate the value of King meting a sinnle asthe malas sale om yous uteri you ean store. the major sale in your hea End ave capable of using those notes to him melodies, you ere short changing yourself by not knowing “where they “ate on your guitar. In other words, if you can hhum it, you should be abla to play it. “another approach to eat training is found on the Listen and Learn page.” Instead of tones within chords, single. notes have been weitten out in number values. i atthe number method in the studio when licks or fills fre suggested that I might not be able co. remember lwhen the red light goes on. It's also a good method to Mor uhen ‘voutte vine to communicate with anotherMajor 7h F Major Teh f (6 olow oF 7 above) No Pedals & Pedal 6 Olen tee tects Sler at 5G) dele tM 1g 12) e132 Ieee Ine 18)Pedal $ (2 below) 7 8 9 wn 4 ©F econ Poston 5 6 7 8 9 WN RB mH 1 HO 1BPedal 6 (5 below oF 7 above) 6 7 8 9 0 (5m) (or Se) Position 012 3 4 5 6 7 8 9 HN 2 1 mH 1 6 7 1B tc 3am)Pedal 7 (aero positon) oo 1 2.3 4 5 6 7 8 9 WN 2 MW 5 6 7 1B (c wa 7) Se Mal 3 Position Pedal 7. (5 abore or 7 below) o 12 3 4 6 7 8 9 WN 2 3 Wm 1 6 7 1BBot, Damen resi 07 GrPodal 8 (3 above) or 2 3 8 5 6 7 8 FON wes Ws 6 7 1B e D EF (A Teh or a7 #9) Postion oor2 3 4 5 6 7 Bg MH RE Hs 6 7 18QR cneeeenevePedals § & 6 5 6 7 8 9 ON 2 13 mW 15 6 78 F 6 a Bt D EF (07 ‘he Diminished Chord (8 + 6) O12 3s 8 5 67 BOHR 6 7 1BPedals 5 87 roe ss 6 7 EB gy ts es te ve : 4 : ; : : : f ; 3 opti iomens. = vies 0 1 2 3 4 5 6 7 iG "9 10011 12 13 14 «15 16 17 18y x f © @ o ©® xt | o18 c D EF 6 « EF Bc D {613 sigmented 41) Podigg? adds the aug. 11 and 13 to pedal 6, 0 as in the pedal 6 chart, the C postion will be on the 7th fret. Pedals 7 & 8 (3 above) or 2 3 4 5 6 7 BHT MN RH BWKnee lever (zero position) (Git 7s ER OREO F 6 a Bt (© Maj, 7) sce f with geal 3, (2 teow PRET > MR RRS aged? SASS 7nee lever # with pedal 6 (5 below or 7 above) 0 4 5 6 7 8 9 W Nye Bm 1 6 7 18 1 2 3 4 5 6 7 8 8 10 c D —&F 6 n Be D EF (F 33 aug. 11) = supplies the augmented 11 t0 pedal 6, 20 ar with the pedal 6 chart, the © position is on the 7eh fret. music Knee lever f with pedal 8 (3 above) o 1 2 3 4 5 6 7 8 9 0 1 12:15: 15 16 7 18 (4 Sim)1 2 3 4 5 6 7 8 8 0 c (c min 1) f (v0 pedals) (Onn 2 a) E 5 5 ‘The minor 70h 67 ‘The minor 9th with nne lever f 6 7 Say io gg 10 u 12 12 3 3 4 D 15 16 € en (vith peeal 7) 4 15 16 uv v7 18 18@ The Root Note O12 3 4 5 6 7 8 9 1 6 £ p ag 6 1X Bo Above aif all the root notes (lets 0 24 12) for abe hey of Ca Max tet ghee, 1a You nite the linear pattern in diagram (B), from string 3, open, to string 7 at the Lath Pets it bevomes casi to endersand pears dieu to semtmber bit if Graph Roots oor 2 3 4 5 6 7 eg MH RH 6© Chord Pockets oor 2 3 4 5 6 7 BoM HN HW 6 7 1B 10 D EF 6 a Be D E Diagram (6) replaces the root notes with 1's and adis the 3rd and Sch notes of the major scale, This gives you & better Visual concept af the C chord notes and the pockets in which they are found. Play each one and listen to the sound. @ music Filling The Pockets o 12 3 4 5 6 7 8 DMN RB Wb 6 7 1Beo) ‘The D Root Positions (Glee ENE 2 3/keee 91S ee GNete 72 6 eee fees] tr eee 2 tse eee ese This is har pou sod viautize when you more the € parce tohine D chord posicén (tet 2).” everythings graphically Sed op he D Seale Positions Oo 1 2 5 4 5 6 F 8 gn 1 Ww 6 7 1B st iB -sereeneesmy Listen and Learn key of © 18 € in sot" Xin atl infotmaad? The abo digsam ethane ounbeds im ac of pid man Te ales you to Team the"numbers of the scale notes as you gor"The tore you Pay them the cadet ic wil become to resognag thea”Cw SE ;Hm 80 Lonesome { Could Cry (cont)Bud's Bounce Solo (cont)Bud's Bounce Solo (cont)Bud's Bounce Solo (cont)BN 8Righe OF Wrong (come)Bali Emmons lotto 1511 (G BGG) Key of sneeoggsis (A7 D7 G D7) Home In San Antong, (1319) . Key of FBently Emmons aa ae 2siays Key of a er oF A