Which of course can be applied to other triad tunings by using note numbers. (Comparison with 6th tunings at the bottom of this triad analysis page).
The Tuning scale step note 5 E 3 C# 1 A 5 E 3 C# 1 A 1 A b7 G
CLICK HERE for a Steel Guitar Forum discussion and sound files of Freddie Roulette and his tuning.
Shown below is the fret grouping layout of a purely triad tuning's straight-bar mode / scale / chord "packages". The mother Maj7 scale ( aka Ionian mode ) is shown here for example:
The simple triad form in the packages is easier to memorize: Straight-bar notes in the package are red; Notes not part of the triad "package" are in light gray for any reference that might be desired:
Ionian / Maj7 1st string *--------6--------*--------7--------1--------*--------2--------*--------3--------4--------*--------5--------*--------6 2nd string 4--------*--------5--------*--------6--------*--------7--------1------- *--------2--------*--------3--------4--------* 3rd string *-------2-------- *--------3--------4--------*--------5--------*--------6--------*--------7--------1------- *--------2 D CHORD FRET G CHORD FRET
The stacked triad box: Ionian / Maj7 1st string ---*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------*--------5--------*--------6 2nd string ---4--------*--------5--------*--------6--------*--------7--------1------- *--------2--------*--------3--------4--------* 3rd string ---*-------2-------- *--------3--------4--------*--------5--------*--------6--------*--------7--------1------- *--------2 4th string ---*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------*--------5--------*--------6 5th string ---4--------*--------5--------*--------6--------*--------7--------1------- *--------2--------*--------3--------4--------* 6th string ---*-------2-------- *--------3--------4--------*--------5--------*--------6--------*--------7--------1-------*--------2---
In the charts farther below I separate the duplicate 7th string and the "out-of-mode" 8th string, ...so that the scale / chord / mode boxes can be seen clearer yet still be able to compare what voicings the 7th and 8th strings offer at any bar position whether barred or open. NOTICE that any barred 8th string note will always be 1 whole step lower than the same fret on the 7th string. Remember that the scale step number of the open strings will change relative to the root of the scale or chord being played. (Maj7 example here again):
Open A / 1 ---7-------1-------- *--------3--------4--------*--------5--------*--------6
Open G / b7 2---------*-------3--------4--------*--------5
Example of open strings for root of "D":
Open A / 5
Open G / 4
Example of open strings for root of "E":
Open A / 4
Open G / 3
THE FRETBOARD LAYOUT FOR THE OPEN-TUNED KEY OF "A" MAJOR: Notes, scales / modes positions; (Their scale patterns are shown farther below):
I Maj#4 I I half-dim I m7b6 I Dom7 I I----Lydian----I I---Locrian ---I----Aolean----I-Mixolydian-I I m7b6b9 I m7 I M7 I I--Phrygian --I----Dorian----I-----Ionian----I 5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------*--------5--------*--------6 3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------* 1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------2 5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------*--------5--------*--------6 3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------*--------*--------3--------4--------* 1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------2
1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1
b7------7--------1--------*--------2--------*--------3-------4--------*---------5--------*--------6--------b7
A chord plus B chord = partial A Maj(#4) scale Maj(#4) / Lydian 5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4------#4--------5--------*--------6--------*--------7 3--------*------#4--------5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------*------#4--------5--------* 1--------*--------2--------*--------3--------4----- #4--------5--------*--------6--------*--------7--------1--------*--------2--------*--------3 5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4----- #4--------5--------*--------6--------*--------7 3--------*------#4--------5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------*------#4--------5--------* 1--------*--------2--------*--------3--------4-----#4---------5--------*--------6--------*--------7--------1--------*--------2--------*--------3
1--------*--------2--------*--------3--------4-----#4---------5--------*--------6--------*--------7--------1--------*--------2--------*--------3
b7------7--------1--------*--------2--------*-------3--------4--------#4-------5--------*--------6-------b7-------7--------1--------*--------2
Bb chord plus C chord = partial A min7b6b9 scale min7b6b9 / Phrygian 5------b6--------6-----b7--------7--------1-------b2-------2------b3-------3--------4---------*--------5------b6--------6 3--------4--------*--------5------b6--------6------b7-------7--------1--------2--------2------b3--------3--------4--------* 1------b2--------2-----b3--------3--------4--------*--------5-------b6-------6------b7--------7--------1------b2--------2 5------b6--------6-----b7--------7--------1------b2-------2-------b3-------3--------4---------*--------5------b6--------6 3--------4--------*--------5------b6--------6------b7-------7--------1------b2--------2------b3--------3--------4--------* 1------b2--------2-----b3--------3--------4--------*--------5------b6--------6------b7--------7--------1------b2--------2
1------b2--------2-----b3-------3---------4--------*--------5------b6--------6------b7--------7--------1
b7------7--------1------b2-------2-------b3--------3-------4--------*---------5-----b6--------6-------b7
C chord plus D chord = partial A min7 (blues minor) scale min7 / Dorian 5--------*--------6------b7--------7--------1--------*--------2-------b3-------3-------4--------*---------5--------*--------6 3--------4--------*--------5--------*---------6------b7-------7--------1--------*--------2------b3--------3--------4--------* 1--------*--------2------b3--------3--------4--------*--------5--------*--------6------b7--------7--------1--------*--------2 5--------*--------6------b7--------7--------1--------*--------2-------b3------3--------4--------*---------5--------*--------6 3--------4--------*--------5--------*---------6-----b7--------7--------1--------*--------2------b3--------3--------4--------* 1--------*--------2------b3--------3--------4--------*--------5--------*--------6------b7--------7--------1--------*--------2
1--------*--------2------b3--------3--------4--------*--------5--------*--------6--------*--------7--------1
b7------7--------1--------*--------2-------b3--------3-------4--------*---------5--------*--------6-------b7
D chord plus E chord = partial A Maj7 scale Maj7 / Ionian 5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------*--------5--------*--------6 3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------* 1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------2 5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------*--------5--------*--------6 3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------*--------*--------3--------4--------* 1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------2
1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1
b7-------7--------1--------*--------2--------*--------3-------4--------*---------5--------*--------6------b7
Eb chord plus F chord = partial A half-dim. scale half dim / min7b5b6b9 / Locrian 5-------b6------6-------b7-------7--------1------b2--------2-------b3-------3-------4-------b5-------5-------b6-------6 3--------4------b5-------5-------b6-------6------b7--------7--------1-------b2------2-------b3-------3--------4-------b5 1-------b2------2-------b3-------3--------4------b5--------5-------b6-------6------b7-------7--------1-------b2-------2 5-------b6------6-------b7-------7--------1------b2--------2-------b3-------3-------4-------b5-------5-------b6-------6 3--------4------b5-------5-------b6-------6------b7--------7--------1-------b2------2-------b3-------3--------4-------b5 1-------b2------2--------b3-------3--------4------b5-------5-------b6-------6------b7-------7--------1--------4-------b5
1-------b2-------2-------b3-------3--------4------b5-------5-------b6--------6------b7-------7-------1
b7------7--------1-------b2--------2------b3-------3-------4--------b5--------5------b6-------6------b7
F chord plus G chord = partial A min7b6 (pure minor) scale min7b6 / Aolean 5-------b6-------6-------b7--------7-------1--------*--------2-------b3-------3--------4--------*--------5-------b6-------* 3--------4--------*--------5--------b6-------6-------b7------7--------1---------*--------2------b3-------3--------4--------* 1--------*--------2-------b3--------3--------4--------*--------5-------b6-------6-------b7------7--------1--------*--------2 5-------b6-------6-------b7--------7-------1--------*--------2-------b3-------3--------4--------*--------5-------b6-------6 3--------4--------*--------5--------b6-------6------b7-------7--------1--------*---------2------b3-------3--------4--------* 1--------*--------2-------b3--------3--------4--------*--------5-------b6-------6-------b7-------7-------1--------*--------2
1--------*--------2-------b3--------3--------4--------*--------5-------b6-------6-------b7-------7-------1
b7------7--------1--------*---------2--------b3-------3-------4--------*---------5------b6-------6------b7
G chord plus A chord = partial A7 scale Dom7 / Mixolydian 5--------*--------6-------b7-------7--------1--------*--------2--------*--------3--------4--------*--------5--------*--------6 3--------4--------*--------5--------*--------6-------b7-------7--------1--------*--------2--------*--------3--------4--------* 1--------*--------2--------*--------3--------4---------*--------5--------*--------6-------b7------7--------1--------*--------2 5--------*--------6-------b7-------7--------1--------*--------2--------*--------3--------4--------*--------5--------*--------6 3--------4--------*--------5--------*--------6-------b7-------7--------1--------*--------2--------*--------3--------4--------* 1--------*--------2--------*--------3--------4--------*--------5--------*---------6------b7-------7--------1--------*--------2
1--------*--------2--------*--------3--------4--------*--------5--------*---------6-------b7------7--------1--------*--------2
b7------7--------1--------*--------2--------*--------3-------4--------*----------5--------*-------6--------b7------*--------1
NOTICE BELOW HOW THE SCALE / CHORD / MODE PACKAGES WOULD SQUARE OFF AND FILL IN ON A 10 STRING STEEL IF A 6TH NOTE IN THE MIDDLE OCTAVE WERE ADDED TO THE TUNING; AND WITH A "1" NOTE ON TOP WE WOULD THEN HAVE EVERY INVERSION AVAILABLE OF EVERY TRIAD VOICED TUNING (by simply selecting the strings of the desired tuning voice); Like having Slide / Dobro Guitar tunings on top and Steel Guitar 13th tuning from the middle down. Also notice that without the 6th note you lose yet another note in the inherent requirement to use partial chords on Steel (in all tunings except full diatonic). You probably wouldn't want the 1st string tuned any higher than G (light gauge) nor lower than C (heavy gauge). Blue panels below are example straight-bar mode boxes with a 6th note added to the tuning. Notice how the 6th note takes the squashed scatter out of the stacked triad tuning (in gray) and puts it into a nice neat box with the notes on each of the box's two frets all lined up in straight-bar harmony until scattered again without the 6th note in the top triad:
I Maj#4 I I half-dim I m7b6 I Dom7 I I----Lydian----I I---Locrian ---I----Aolean----I-Mixolydian-I I m7b6b9 I m7 I M7 I I--Phrygian --I----Dorian----I-----Ionian----I 1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1 5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------*--------5 3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------2--------*--------3 1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1 6--------*--------7--------1--------*--------2--------*--------3--------4--------*--------5--------*--------6 5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------*--------5 3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------2--------*--------3 1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1
1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1
b7--------7--------1--------*--------2--------*--------3-------4--------*---------5--------*--------6--------b7
Some slants and partials in each package and it's fretboard:
Notice that in-mode / in-scale partials and slants shown here (Maj7 example) will also be present in the same position in every scale / mode package; ie. the positions of partials and slants shown here and any others found in any of package scale / mode packages will also be present in all other scale / mode packages, automatically converted to notes of the scale / mode package being worked.
5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------*--------5--------*--------6 3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------* 1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------2 5--------*--------6--------*--------7--------1--------*--------2--------*--------3--------4--------*--------5--------*--------6 3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------2--------*--------3-------4--------* 1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1--------*--------2
1--------*--------2--------*--------3--------4--------*--------5--------*--------6--------*--------7--------1
b7-------7--------1--------*--------2--------*--------3-------4--------*---------5--------*--------6------b7
Remember; The package pattern remains the same throughout all modes up and down the neck, and the notes, slants and partials of any mode can be seen right on this Maj7 chart. To see things clearer, get out the old pencil and paper and draw charts for each mode; That's a great way to woodshed.
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