I've added a product on my website that some of y'all might be interested in.
Since one of the stumbling blocks to learning C6 for an E9 player is figuring out the arcane changes of the pedals, I wrote a 6 page booklet on what the pedals/levers do on a 5 pedal/4 knee copedent, and the chords I find using these changes.
It does not discuss chord progressions or jazz, just what chords I find in open position with these pedals.
I include this booklet with my <I>
Texas Dance Time!</I> Tablature Book, but I offer it by itself for $5.00, plus $1.50 for s&h.
Location: Rocky Top Ranch, Bertram, Texas USA and Liberty Hill, Tx
State/Province: Texas
Country: United States
Postby Ricky Davis »
Well if ya finally want the weird C6th neck layed out for ya>"THIS IS IT". You can't get a better explaination than what comes from Herb Steiner folks.
I'll take two my friend.
Checks in the mail.
Ricky
Mr. Herb. I'm gonna ask Ricky to run off a copy of that and send it to me. OK?
If not, a question--
My Universal 12 doesn't do a number of 5P 4L things. Looking at Buddy's setup as I write this, my 4th string lower would be on a split with the B pedal (my 6th string) my 4th string raise would be my B pedal, my 3rd string lower--well that's ok..X lever--and the 3rd string raise would be a split either with the A pedal or the 7th pedal (well actually it's my 5th pedal).
In other words my setup is a bloody mess for standard C6 (B6) stuff.
Without asking you to dissect it or do my homework for me, do you reckon there's enough useful stuff left in your booklet for me to chew on? 'Cause I'm always finding that yet another person's presentation of this kind of stuff always seems to kick-start some new understandings in me with this stuff.
If you think the answer is yeah, then please email me your Paypal handle so I can go ahead and order it.
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Jon Light on 21 January 2001 at 10:05 AM.]</p></FONT>
Jon
My C6 copedent is just like Big E's, and it's shown here.
If you don't have all these changes, or if you use other methods to obtain these notes, you'd have to do some modification of your thought processes to achieve the chords as shown, which is probably a healthy thing musically. The reason being, instead of just looking at the book and thinking, "cool, this is the chord because Herb says it is," you must use the ol' gray matter to analyze how to get those notes in a different way than the one shown. Ergo, personal growth.
In other words, I think you could probably get something out of the booklet, though I did not intend for it to be 100% applicable to the variety of Universal tunings out there. Ball is back in your court, lemme know by email whassup with your desires.
Arlen
I will be in Dallas and look forward to meeting you there.
