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Mar 07, 2016 - Visit the site to Buy The Printable Version of this Chord Diagram. The purpose of this page is to acquaint the beginner with the E9 'Nashville' tuning for the pedal steel guitar. Garcea si oltenii gratis. While there are many variations in use among today's players, this page will concentrate on the most common pedal and knee lever arrangements. E9 Pedal Steel Guitar – chord positions: The chart below shows the same chords and the chord positions on E9 pedal steel guitar. The number above the chord is the FRET you place your bar on to play that chord. The A, B indicates Pedals A, B, standard E9 tuning. Pick any combination of strings 3,4,5,6,8,10 to play the chords. Click on the.
PEDAL STEEL GUITAR E9 FRETBOARD REFERENCE Arranged By: Jesse Leite DRAFT #5 Please send all comments and suggestions to [email protected]
A
B
C
LKL
LKR
F#
TABLE OF CONTENTS
D# G#
A
E B
F# C#
G#
F
D#
C# A
F# E
F
p.2
The Chord Chart
p.3
Chord Zones
p.4
Single Position Scale Patterns
p.5
Harmonized Scale Patterns
D# B
D#
Introduction
C#
Appendix A: Diatonic Chord Reference
p.6-10 p.11
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
INTRODUCTION WHAT IS THE PURPOSE OF THIS REFERENCE BOOKLET? The purpose of this booklet is to lay out the E9 fretboard in a simple and practical way. My goal is to cover everything from basic chord positions for rhythm playing, to various scale patterns for lead playing, and to tie these rhythm and lead concepts together to form a better understanding of the E9 fretboard. To attain this goal, I have created a simple chord chart that will be utilized as a reference on every page; and in doing this hopefully the player will begin to see how these chords and scales fit together on the fretboard in any given key. WHAT DO I NEED TO GET STARTED? Before using this reference booklet, it is highly recommended that you have a basic understanding of chord theory and diatonic harmony; specifically the nashville numbering system, which will be used to notate diatonic chord names. WHAT IS DIATONIC HARMONY? Chord progressions in most songs are not usually chosen at random, but are chosen because they sound good together in a given key. The rules of “diatonic harmony” allow a musician to easily find a set of chords that properly harmonize with the scale of the key they are playing in. WHAT IS THE NASHVILLE NUMBERING SYSTEM? It is considered a standard to use roman numerals (rather than specific chord names) to maximize flexibility when learning chord progressions. The roman numerals define the character of a chord, and allow a musician to easily transpose chord progressions (and patterns, scales, licks within a given chord progression) up the neck for use in any key. Many call this the “nashville numbering system”. While the charts in the book primarily use the nashville numbering system, you may refer to Appendix A for exact chord names in any given key. WANT TO LEARN MORE? You can use the internet to research these concepts further. Searching the terms “diatonic harmony”, “nashville numbering system”, and “harmonizing the major scale” should all lead you to a wealth of useful information. Also available to you are many great pedal steel guitar method books, and/or general music theory method books to help get you started. HOW IS THIS CHORD CHART FORMATTED? 1) Each chart covers a little more than one octave (a total of 17 frets by column, with “home” frets outlined in bold). 2) The primary major chords (I, IV, V; aka. “tonic”, “subdominant”, and “dominant” respectively) exist within the green rows. 3) The secondary chords (IIm, IIIm, VIm, VII˚) exist within the blue rows. 4) Pedal & lever changes are based on the E9 pedal steel tuning using a fairly standard Emmons style copedent (see title page for copedent). 2
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
THE CHORD CHART
IIm (LKR)
I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm (B+C) *3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
*Chords can be played on strings 3, 4, 5, 6, 8, and 10; unless otherwise noted!
HERE IS THE BASIC CHORD CHART! One octave has been highlighted with many of the common diatonic chord positions labelled. With these chord voicings, the player is never more than a few frets away from the next desired chord. This is the basic chart on which the rest of this reference booklet is based on. Feel free to add your own chord voicings to this chart; especially if you have custom changes installed that may allow for other possible chord voicings! In the key of G Major, the home frets outlined in bold would occur at the 3rd and 15th frets. Refer to Appendix A for exact chord names in any given key. 3
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
CHORD ZONES
IIm (LKR)
I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm (B+C) *3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
*3,4,5,6,7
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
CHORD ZONE 1
CHORD ZONE 2
CHORD ZONE 1; octave higher
*Chords can be played on strings 3, 4, 5, 6, 8, and 10; unless otherwise noted!
HOW ARE THESE CHORD ZONES USEFUL? The chart on the previous page is very open, and allows the player to veer in any direction to create chord progressions. This may be overwhelming for some. By breaking the neck into two “zones”, the player might find it easier to memorize these chord positions. It is also beneficial to use these chord zones because the range of frets within each zone is small enough for you to play through a song with minimal bar movement. In the key of G Major, “Zone 1” would span from the 1st to the 5th fret, and “Zone 2” would span from the 8th to the 10th fret. 4
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
SINGLE POSITION SCALE PATTERNS
IIm (LKR)
I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm (B+C) *3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Scale Pattern in Zone 1: (G Major) 3 3 3---3B 3 3---3A 3---3B 3 3 *Major Roots *Relative Minor Roots
Harmonizing Zone 1: 3 3 3B---3 3-----3 3-----3 3A---3
Scale Pattern in Zone 2: 10 9* 10---10B 10 10---10A 10---10B 10 10
*NOTE: Many guitars have a change installed which lowers string 2. If available, starred note can be played at fret 10!
Harmonizing Zone 2: 10 10* 10B---3 10-----3 10-----10 10A---10 *NOTE: 2nd String change required in this example!
Here are a few scale patterns that fit nicely into the two zones. In the key of G Major, these scales would occur at the 3rd and 10th frets, and would repeat an octave higher at the 15th fret. There are many ways to harmonize these single position scales. Examples have been provided to get you started. 5
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using LKL Change I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
F# D# G# E B G# F# E D B
Harmonized Scale Using LKL Change: (G Major) *Major Roots *Relative Minor Roots 3 3
4 4 LKL
6 6 LKL
8 8
10 10
11 11 LKL
13 13 LKL
15 15
3
4
6
8
10
11
13
15
3
4 LKL
6 LKL
8
10
11 LKL
13 LKL
15
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 3+4, 4+6, or 6+8. The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody. The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 6
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using A+B Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
F# D# G# E B G# F# E D B
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using A+B Changes: (G Major) *Major Roots *Relative Minor Roots
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 3+5, 5+6, or 6+10.
3
3B
5B
8
10
10 B
13
15
3 3
3A 3B
5A 5B
8 8
10 10
10 A 10 B
13 13
15 15
The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody.
15
The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed).
3
3A
5A
8
10
10 A
13
7
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using A+LKL Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using A+LKL Changes: (G Major) *Major Roots *Relative Minor Roots
3 3A
5 5A
6 LKL 6A
8 8A
10 10 A
11 LKL 11 A
13 LKL 13 A
15 15 A
3
5
6 LKL
8
10
11 LKL
13 LKL
15
3A
5A
6A
8A
10 A
11 A
13 A
15 A
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 4+5, 5+8, or 8+10. The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody. The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 8
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using A+LKR Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using A+LKR Changes: (G Major) *Major Roots *Relative Minor Roots
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 4+5, 5+8, or 8+10.
3 LKR 3
3 3A
5 5A
8 LKR 8
8 8A
10 10 A
13 LKR 13
15 LKR 15
The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody.
3 LKR
3
5
8 LKR
8
10
13 LKR
15 LKR
3
3A
5A
8
8A
10 A
13
15
The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 9
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using B+C Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
*3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using B+C Changes: (G Major) *Major Roots *Relative Minor Roots 3 3
3B 3C
5B 5C
8 8
10 10
10 B 10 C
12 B 12 C
15 15
3
3B
5B
8
10
10 B
12 B
15
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 3+4, or 4+6. The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody. The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 10
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
Appendix A: Diatonic Chord Reference
The Diatonic Chords (Chords That Harmonize Nicely In Each Key)
The 12 Major Keys (And Their Respective “Home Frets”) F Major
F# / Gb Major
G Major
G# / Ab Major
A Major
A# / Bb Major
B Major
C Major
C# / Db Major
D Major
D# / Eb Major
E Major
Fret 1 Fret 13
Fret 2 Fret 14
Fret 3 Fret 15
Fret 4 Fret 16
Fret 5 Fret 17
Fret 6 Fret 18
Fret 7 Fret 19
Fret 8 Fret 20
Fret 9 Fret 21
Fret 10 Fret 22
Fret 11 Fret 23
Open Fret 12 Fret 24
I
F
F# / Gb
G
G# / Ab
A
A# / Bb
B
C
C# / Db
D
D# / Eb
E
IIm
Gm
G#m / Abm
Am
A#m / Bbm
Bm
Cm
C#m / Dbm
Dm
D#m / Ebm
Em
Fm
F#m / Gbm
IIIm
Am
A#m / Bbm
Bm
Cm
C#m / Dbm
Dm
D#m / Ebm
Em
Fm
F#m / Gbm
Gm
G#m / Abm
IV
A# / Bb
B
C
C# / Db
D
D# / Eb
E
F
F# / Gb
G
G# / Ab
A
V7
C
C# / Db
D
D# / Eb
E
F
F# / Gb
G
G# / Ab
A
A# / Bb
B
VIm
Dm
D#m / Ebm
Em
Fm
F#m / Gbm
Gm
G#m / Abm
Am
A#m / Bbm
Bm
Cm
C#m / Dbm
VII˚
E˚
F˚
F#˚ / Gb˚
G˚
G#˚ / Ab˚
A˚
A#˚ / Bb˚
B˚
C˚
C#˚ / Db˚
D#˚
D#˚ / Eb˚
Here is a supplementary reference chart that you may use to quickly names of the diatonic chords (the chords that harmonize nicely) in any given key. This can be used in conjunction with any of the chord charts used previously in this booklet. 11
A
B
C
LKL
LKR
F#
TABLE OF CONTENTS
D# G#
A
E B
F# C#
G#
F
D#
C# A
F# E
F
p.2
The Chord Chart
p.3
Chord Zones
p.4
Single Position Scale Patterns
p.5
Harmonized Scale Patterns
D# B
D#
Introduction
C#
Appendix A: Diatonic Chord Reference
p.6-10 p.11
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
INTRODUCTION WHAT IS THE PURPOSE OF THIS REFERENCE BOOKLET? The purpose of this booklet is to lay out the E9 fretboard in a simple and practical way. My goal is to cover everything from basic chord positions for rhythm playing, to various scale patterns for lead playing, and to tie these rhythm and lead concepts together to form a better understanding of the E9 fretboard. To attain this goal, I have created a simple chord chart that will be utilized as a reference on every page; and in doing this hopefully the player will begin to see how these chords and scales fit together on the fretboard in any given key. WHAT DO I NEED TO GET STARTED? Before using this reference booklet, it is highly recommended that you have a basic understanding of chord theory and diatonic harmony; specifically the nashville numbering system, which will be used to notate diatonic chord names. WHAT IS DIATONIC HARMONY? Chord progressions in most songs are not usually chosen at random, but are chosen because they sound good together in a given key. The rules of “diatonic harmony” allow a musician to easily find a set of chords that properly harmonize with the scale of the key they are playing in. WHAT IS THE NASHVILLE NUMBERING SYSTEM? It is considered a standard to use roman numerals (rather than specific chord names) to maximize flexibility when learning chord progressions. The roman numerals define the character of a chord, and allow a musician to easily transpose chord progressions (and patterns, scales, licks within a given chord progression) up the neck for use in any key. Many call this the “nashville numbering system”. While the charts in the book primarily use the nashville numbering system, you may refer to Appendix A for exact chord names in any given key. WANT TO LEARN MORE? You can use the internet to research these concepts further. Searching the terms “diatonic harmony”, “nashville numbering system”, and “harmonizing the major scale” should all lead you to a wealth of useful information. Also available to you are many great pedal steel guitar method books, and/or general music theory method books to help get you started. HOW IS THIS CHORD CHART FORMATTED? 1) Each chart covers a little more than one octave (a total of 17 frets by column, with “home” frets outlined in bold). 2) The primary major chords (I, IV, V; aka. “tonic”, “subdominant”, and “dominant” respectively) exist within the green rows. 3) The secondary chords (IIm, IIIm, VIm, VII˚) exist within the blue rows. 4) Pedal & lever changes are based on the E9 pedal steel tuning using a fairly standard Emmons style copedent (see title page for copedent). 2
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
THE CHORD CHART
IIm (LKR)
I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm (B+C) *3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
*Chords can be played on strings 3, 4, 5, 6, 8, and 10; unless otherwise noted!
HERE IS THE BASIC CHORD CHART! One octave has been highlighted with many of the common diatonic chord positions labelled. With these chord voicings, the player is never more than a few frets away from the next desired chord. This is the basic chart on which the rest of this reference booklet is based on. Feel free to add your own chord voicings to this chart; especially if you have custom changes installed that may allow for other possible chord voicings! In the key of G Major, the home frets outlined in bold would occur at the 3rd and 15th frets. Refer to Appendix A for exact chord names in any given key. 3
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
CHORD ZONES
IIm (LKR)
I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm (B+C) *3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
*3,4,5,6,7
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
CHORD ZONE 1
CHORD ZONE 2
CHORD ZONE 1; octave higher
*Chords can be played on strings 3, 4, 5, 6, 8, and 10; unless otherwise noted!
HOW ARE THESE CHORD ZONES USEFUL? The chart on the previous page is very open, and allows the player to veer in any direction to create chord progressions. This may be overwhelming for some. By breaking the neck into two “zones”, the player might find it easier to memorize these chord positions. It is also beneficial to use these chord zones because the range of frets within each zone is small enough for you to play through a song with minimal bar movement. In the key of G Major, “Zone 1” would span from the 1st to the 5th fret, and “Zone 2” would span from the 8th to the 10th fret. 4
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
SINGLE POSITION SCALE PATTERNS
IIm (LKR)
I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm (B+C) *3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Scale Pattern in Zone 1: (G Major) 3 3 3---3B 3 3---3A 3---3B 3 3 *Major Roots *Relative Minor Roots
Harmonizing Zone 1: 3 3 3B---3 3-----3 3-----3 3A---3
Scale Pattern in Zone 2: 10 9* 10---10B 10 10---10A 10---10B 10 10
*NOTE: Many guitars have a change installed which lowers string 2. If available, starred note can be played at fret 10!
Harmonizing Zone 2: 10 10* 10B---3 10-----3 10-----10 10A---10 *NOTE: 2nd String change required in this example!
Here are a few scale patterns that fit nicely into the two zones. In the key of G Major, these scales would occur at the 3rd and 10th frets, and would repeat an octave higher at the 15th fret. There are many ways to harmonize these single position scales. Examples have been provided to get you started. 5
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using LKL Change I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
F# D# G# E B G# F# E D B
Harmonized Scale Using LKL Change: (G Major) *Major Roots *Relative Minor Roots 3 3
4 4 LKL
6 6 LKL
8 8
10 10
11 11 LKL
13 13 LKL
15 15
3
4
6
8
10
11
13
15
3
4 LKL
6 LKL
8
10
11 LKL
13 LKL
15
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 3+4, 4+6, or 6+8. The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody. The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 6
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using A+B Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
F# D# G# E B G# F# E D B
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using A+B Changes: (G Major) *Major Roots *Relative Minor Roots
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 3+5, 5+6, or 6+10.
3
3B
5B
8
10
10 B
13
15
3 3
3A 3B
5A 5B
8 8
10 10
10 A 10 B
13 13
15 15
The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody.
15
The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed).
3
3A
5A
8
10
10 A
13
7
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using A+LKL Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using A+LKL Changes: (G Major) *Major Roots *Relative Minor Roots
3 3A
5 5A
6 LKL 6A
8 8A
10 10 A
11 LKL 11 A
13 LKL 13 A
15 15 A
3
5
6 LKL
8
10
11 LKL
13 LKL
15
3A
5A
6A
8A
10 A
11 A
13 A
15 A
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 4+5, 5+8, or 8+10. The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody. The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 8
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using A+LKR Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
IIm
IIm
(A)
(LKR)
*3,4,5,6,7
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using A+LKR Changes: (G Major) *Major Roots *Relative Minor Roots
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 4+5, 5+8, or 8+10.
3 LKR 3
3 3A
5 5A
8 LKR 8
8 8A
10 10 A
13 LKR 13
15 LKR 15
The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody.
3 LKR
3
5
8 LKR
8
10
13 LKR
15 LKR
3
3A
5A
8
8A
10 A
13
15
The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 9
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
HARMONIZED SCALE PATTERNS: Using B+C Changes I
I
I7
I
I
(Open)
(A+LKL)
(B+LKR)
(A+B)
(Open)
IIm
IIm
(B+C)
(LKR)
*3,4,5,6,7
IIm
IIm
(A)
(LKR)
IIIm
IIIm
(B+C)
(LKR)
*3,4,5,6,7
IIm (B+C) *3,4,5,6,7
IIIm
IIIm
(A)
(LKR)
IV7
IV
IV
IV
IV7
IV
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
IIIm (B+C) *3,4,5,6,7
V
V7
V
V
V
V7
V
(A+LKL)
(B+LKR)
(A+B)
(Open)
(A+LKL)
(B+LKR)
(A+B)
F# D# G# E B G# F# E D B
VIm
VIm
(A)
(LKR)
VIm
VIm
(B+C)
(A)
*3,4,5,6,7
VII˚
VII˚
VII˚
VII˚
VII˚
VII˚
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
(LKL)
Harmonized Scale Using B+C Changes: (G Major) *Major Roots *Relative Minor Roots 3 3
3B 3C
5B 5C
8 8
10 10
10 B 10 C
12 B 12 C
15 15
3
3B
5B
8
10
10 B
12 B
15
This harmonized scale pattern works best when played using dyads (twonote groupings) on string combinations 3+4, or 4+6. The example on the left is in the key of G Major, from home fret to home fret. The root notes are highlighted for you to use as a reference when trying to find your way through a melody. The highlighted boxes above were chosen solely for the purpose of showing where these dyads exist within similar chords on the chart (chords that exist at the same frets with the same pedals/levers depressed). 10
Pedal Steel Guitar: E9 Fretboard Reference (Arranged By: Jesse Leite)
Appendix A: Diatonic Chord Reference
The Diatonic Chords (Chords That Harmonize Nicely In Each Key)
The 12 Major Keys (And Their Respective “Home Frets”) F Major
F# / Gb Major
G Major
G# / Ab Major
A Major
A# / Bb Major
B Major
C Major
C# / Db Major
D Major
D# / Eb Major
E Major
Fret 1 Fret 13
Fret 2 Fret 14
Fret 3 Fret 15
Fret 4 Fret 16
Fret 5 Fret 17
Fret 6 Fret 18
Fret 7 Fret 19
Fret 8 Fret 20
Fret 9 Fret 21
Fret 10 Fret 22
Fret 11 Fret 23
Open Fret 12 Fret 24
I
F
F# / Gb
G
G# / Ab
A
A# / Bb
B
C
C# / Db
D
D# / Eb
E
IIm
Gm
G#m / Abm
Am
A#m / Bbm
Bm
Cm
C#m / Dbm
Dm
D#m / Ebm
Em
Fm
F#m / Gbm
IIIm
Am
A#m / Bbm
Bm
Cm
C#m / Dbm
Dm
D#m / Ebm
Em
Fm
F#m / Gbm
Gm
G#m / Abm
IV
A# / Bb
B
C
C# / Db
D
D# / Eb
E
F
F# / Gb
G
G# / Ab
A
V7
C
C# / Db
D
D# / Eb
E
F
F# / Gb
G
G# / Ab
A
A# / Bb
B
VIm
Dm
D#m / Ebm
Em
Fm
F#m / Gbm
Gm
G#m / Abm
Am
A#m / Bbm
Bm
Cm
C#m / Dbm
VII˚
E˚
F˚
F#˚ / Gb˚
G˚
G#˚ / Ab˚
A˚
A#˚ / Bb˚
B˚
C˚
C#˚ / Db˚
D#˚
D#˚ / Eb˚
Here is a supplementary reference chart that you may use to quickly names of the diatonic chords (the chords that harmonize nicely) in any given key. This can be used in conjunction with any of the chord charts used previously in this booklet. 11
Autore: DeWitt Scott
Editore: Mel Bay Publications
ISBN: 0871663708
Grandezza: 62,41 MB
Formato: PDF, Mobi
Vista: 3070
DownloadEditore: Mel Bay Publications
ISBN: 0871663708
Grandezza: 62,41 MB
Formato: PDF, Mobi
Vista: 3070
This is a handy, easy to read chart that shows the basic E9 pedal steel guitar chord forms. Each chord is shown in a special pedal steel diagram form. Major, minor, dominant, seventh, diminished, and augmented chords are shown in the keys of C, D, E, F, G, and A. In each of these keys the three primary chords in the relative minor keys are also shown. An additional special feature is the inclusion of a pedal steel tuning chart for E9 tuning.
Deluxe Pedal Steel Guitar Method
Autore: DEWITT SCOTT
Editore: Mel Bay Publications
ISBN: 1610654420
Grandezza: 13,49 MB
Formato: PDF, ePub, Mobi
Vista: 4388
DownloadEditore: Mel Bay Publications
ISBN: 1610654420
Grandezza: 13,49 MB
Formato: PDF, ePub, Mobi
Vista: 4388
This is the standard-bearer for pedal steel instruction books. It is extremely comprehensive in scope. Written by DeWitt Scott, founder of the International Pedal Steel Guitar Convention and member of the Pedal Steel Guitar Hall of Fame, this course teaches E9 tuning, Nashville set-up pedal steel with three floor and three knee levers. If you want to learn pedal steel, this book will show you how. the accompanying CD is in split-track format, allowing the student to play with the rhythm accompaniment, the pedal-steel solo parts, or both.
Autore:
Editore: Copyright Office, Library of Congress
ISBN:
Grandezza: 11,59 MB
Formato: PDF, Docs
Vista: 1059
DownloadEditore: Copyright Office, Library of Congress
ISBN:
Grandezza: 11,59 MB
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Includes Part 1, Number 2: Books and Pamphlets, Including Serials and Contributions to Periodicals July - December)
The New Mel Bay Modern Guitar Method Grade 2
Autore: Mel Bay
Editore:
ISBN:
Grandezza: 79,58 MB
Formato: PDF, ePub, Mobi
Vista: 7436
DownloadEditore:
ISBN:
Grandezza: 79,58 MB
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Vista: 7436
Autore: Joseph Castle
Editore:
ISBN:
Grandezza: 22,24 MB
Formato: PDF, Docs
Vista: 452
DownloadEditore:
ISBN:
Grandezza: 22,24 MB
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Vista: 452
Mastering The Lap Steel Guitar
Autore: Rob Haines
Editore: Mel Bay Publications
ISBN: 1619118343
Grandezza: 38,98 MB
Formato: PDF, Docs
Vista: 1022
DownloadEditore: Mel Bay Publications
ISBN: 1619118343
Grandezza: 38,98 MB
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Vista: 1022
Mastering the Lap Steel Guitar will take you from beginner basics such as tuning, right hand blocking, and holding the bar, to advanced techniques including bar slants, harmonics, string pulls and more. Licks, songs and the Nashville number system are covered, with additional tips and tricks Rob Haines has acquired in over 40 years of playing professionally. The book is written in standard notation as well as tablature and includes access to online video.
Autore: Joe Stoebenau
Editore: Alfred Music Publishing
ISBN: 9780739035955
Grandezza: 40,34 MB
Formato: PDF, ePub, Mobi
Vista: 1305
DownloadEditore: Alfred Music Publishing
ISBN: 9780739035955
Grandezza: 40,34 MB
Formato: PDF, ePub, Mobi
Vista: 1305
Today, more and more musical styles are discovering the distinct sound of the pedal steel guitar. Teach Yourself to Play Pedal Steel Guitar uses a fun and easy-to-follow approach that is great for every guitarist and beginners with no prior musical training. You will learn the basics of how to tune, read music and TAB, right- and left-hand techniques, and improvising. A CD is included for play-along and practice. By the time you're done, you'll be ready to learn your favorite songs and play with a band. 96 pages.
Learning The Classic Guitar
![E9 pedal steel guitar E9 pedal steel guitar](https://www.pedalsteel.fr/images/doc_a_telecharger/tones_and_modes_blank.jpg)
Autore: Aaron Shearer
Editore:
ISBN:
Grandezza: 55,33 MB
Formato: PDF, ePub, Mobi
Vista: 7663
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ISBN:
Grandezza: 55,33 MB
Formato: PDF, ePub, Mobi
Vista: 7663
Autore: Charles Kim
Editore: John Wiley & Sons
ISBN: 0470327561
Grandezza: 54,81 MB
Formato: PDF, ePub, Mobi
Vista: 4425
DownloadEditore: John Wiley & Sons
ISBN: 0470327561
Grandezza: 54,81 MB
Formato: PDF, ePub, Mobi
Vista: 4425
![Pedal Steel E9 Chord Chart Pdf Pedal Steel E9 Chord Chart Pdf](https://b0b.com/tunings/edpack1.gif)
Do you learn faster by seeing and doing than by wading throughtedious instructions? Then pick up a guitar and start strumming!Teach Yourself VISUALLY Guitar shows you the basics—photo byphoto and note by note. You begin with basic chords and techniquesand progress through suspensions, bass runs, hammer-ons, and barrechords. As you learn to read chord charts, tablature, and leadsheets, you can play any number of songs, from rock to folk tocountry. The chord chart and scale appendices are ready referencesfor use long after you master the basics. Concise two-page lessons show you all the steps to a skilland are ideal for quick review Each skill, chord, or technique is clearly described Detailed color photos demonstrate proper fingering andtechnique Concise and understandable instructions accompany eachphoto Helpful tips provide additional guidance
The Purchaser S Guide To The Music Industries
Autore:
Editore:
ISBN:
Grandezza: 36,88 MB
Formato: PDF, ePub
Vista: 5513
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ISBN:
Grandezza: 36,88 MB
Formato: PDF, ePub
Vista: 5513
Autore: Pete Prown
Editore: Hal Leonard Corporation
ISBN: 9780793540426
Grandezza: 49,20 MB
Formato: PDF, ePub, Docs
Vista: 9315
DownloadEditore: Hal Leonard Corporation
ISBN: 9780793540426
Grandezza: 49,20 MB
Formato: PDF, ePub, Docs
Vista: 9315
Presents a comprehensive encyclopedia of rock guitar legends examining over three hundred artists beginning in the 1950s and covering a wide range of styles and includes performers such as Chuck Berry, Eric Clapton, Duane Eddy, Buddy Holly, Keith Richards, and more.
Moods Of The Dulcimer
Autore: VIRGIL AND NORMAN HUGHES
Editore:
ISBN:
Grandezza: 50,69 MB
Formato: PDF
Vista: 9470
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ISBN:
Grandezza: 50,69 MB
Formato: PDF
Vista: 9470
Autore:
Editore:
ISBN:
Grandezza: 31,96 MB
Formato: PDF, Kindle
Vista: 4395
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ISBN:
Grandezza: 31,96 MB
Formato: PDF, Kindle
Vista: 4395
Catalog Of Copyright Entries
Autore: Library of Congress. Copyright Office
Editore:
ISBN:
Grandezza: 54,51 MB
Formato: PDF, Docs
Vista: 9192
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ISBN:
Grandezza: 54,51 MB
Formato: PDF, Docs
Vista: 9192
Autore: Library of Congress. Copyright Office
Editore:
ISBN:
Grandezza: 51,43 MB
Formato: PDF, Mobi
Vista: 9579
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ISBN:
Grandezza: 51,43 MB
Formato: PDF, Mobi
Vista: 9579
The record of each copyright registration listed in the Catalog includes a description of the work copyrighted and data relating to the copyright claim (the name of the copyright claimant as given in the application for registration, the copyright date, the copyright registration number, etc.).
The Guitarist S Resource Guide
Autore: Joseph Rezits
Editore: Neil a Kjos Music Company
ISBN:
Grandezza: 34,87 MB
Formato: PDF, ePub, Docs
Vista: 8068
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ISBN:
Grandezza: 34,87 MB
Formato: PDF, ePub, Docs
Vista: 8068
Autore:
Editore:
ISBN: 9780786602230
Grandezza: 15,63 MB
Formato: PDF, Docs
Vista: 5076
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ISBN: 9780786602230
Grandezza: 15,63 MB
Formato: PDF, Docs
Vista: 5076
Pedal Steel E9 Chord Chart Pdf Download
Books And Pamphlets Including Serials And Contributions To Periodicals
Autore: Library of Congress. Copyright Office
Editore:
ISBN:
Grandezza: 30,85 MB
Formato: PDF, ePub, Mobi
Vista: 7851
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ISBN:
Grandezza: 30,85 MB
Formato: PDF, ePub, Mobi
Vista: 7851
Autore: Joe Stuessy
Editore: Prentice Hall
ISBN:
Grandezza: 13,63 MB
Formato: PDF, ePub
Vista: 9171
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ISBN:
Grandezza: 13,63 MB
Formato: PDF, ePub
Vista: 9171
This book provides both a historical survey of rock from its evolution in the mid-1950s to the 21st century and introduces elements of music exclusively through rock and roll. A multitude of rock variations amid a bewildering array of styles, from soft rock to heavy metal to country rock. Each style is acutely analyzed with equal emphasis and an objective point of view. The Beatles, Elvis Presley, the Rolling Stones, the Grateful Dead, and Chicago are only a few of the many great rock artists who are featured in order to exemplify stylistic characteristics throughout the book.
Pedal Steel E9 Chord Chart Pdf Beginner
The Wonderful World Of Country Music
E9 Pedal Steel Guitar
Autore: Jeannie Sakol
Editore: Perigee Books
ISBN: 9780399508196
Grandezza: 42,52 MB
Formato: PDF
Vista: 9829
Editore: Perigee Books
ISBN: 9780399508196
Grandezza: 42,52 MB
Formato: PDF
Vista: 9829