Steel Guitar Rag · 2017-04-08 · Steel Guitar Rag April 2017 Board of Directors Troy Porter-Chairman Ray Harrison-Position TBD Roy Brown-Position TBD Peggy Porter-Treasurer Otto

Steel Guitar �Rag�April 2017

Board of Directors

Troy Porter-Chairman

Ray Harrison-Position TBD

Roy Brown-Position TBD

Peggy Porter-Treasurer

Otto Shill-Position TBD

This newsletter is published monthly from P.O. Box 1129,Globe Az., 85502 and presents information for the newsletter of the SWSGA, A 501(c) (3) , non-profit organization.

Editor: Bill Tauson

“Official Publication of the Southwestern Steel Guitar Association”

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Future Events;

California JamMay 6th.

8:00 a.m.to 4:00 p.m.

Vista Elks LodgeVista, Ca.

See page 2of this

newsletter for future details.

Welcome to the April edition of The Steel Guitar Rag.

The Annual SWSGA membership meeting and Spring Jam was

held on March 25th at the Mesa Hilton. At this time the Board of

Directors election results were announced by Rick Ulrich. Thanks to

our election committee, Dave Beaty, Rick Ulrich, and Jerome Vogel

for another job well done. The two nominees that agreed to be placed

on the ballot were Peggy Porter and Roy Brown. I would like to

welcome Roy as the new board member. I am sure Roy has a lot to

offer and will be a great addition to the board of directors. Peggy has

been a member and has served on the board since the beginning. She

has done an excellent job as treasurer and a great help in planning and

organizing the SWSGA events.

We had a great turnout for the Spring Jam and was very much

enjoyed by everyone. Frank Carter provided a list of songs that was

posted in the March edition of the Rag’ and everyone chose their

favorite song to play from the list. This seemed to work out very well

and I think we made it through all 16 players. Good idea Frank. The

backup band was provided by Dan Range, Ray Harrison, and Darcie

Bodemuller. Thanks guys and gals for another great job!

The California Jam is scheduled for May 6th. at the Elks Lodge

in Vista, California. The information is posted in this newsletter so be

sure and check it out. If you are planning to bring your RV, they do

have an RV park available but we will need to know in advance. You

can contact me at (928) 200-1624 or Harvey Hanson, (760) 994-3336

for more information.

Thanks for your continued support of the SWSGA and the steel

guitar.

Troy Porter

SWSGA Chairman

Page 2 Steel Guitar ‘Rag’

SWSGA California Jam

1947 E. Vista Way

Vista, CA. 92084

May 6th. 8:00 A.M. To 4:00 P.M

The Annual SWSGA California Jam will be held at the Vista Elks Lodge. Everyone is invited.Come and enjoy the steel guitar and friends. Bring your friends and your guitar if you wish to play.

If you need additional information, please call Troy Porter at (928) 200-1624 or Harvey Hansen at (760) 966-1101.

Vista RV Park

For reservations Call (760) 330-1861or email: [email protected]

Donation of $24.00 per night for 30 amp &$26.00 for 50 amp. space.

Advance reservations are recommended.

March 2017 Jam playersAdditional photos can be viewed at

https://btphotography.smugmug.com/2017-SWSGA-March-Jam/


Hi fellow steelers, John McClung here (aka Mr. Twang / Professor Twang) coming toyou from Olympia, WA. For questions about this lesson, or inquiries about privateSkype lessons, write to me at: [email protected], or phone me at310-480-0717. I welcome suggestions for topics for this column!

http://steelguitarlessons.com

Changing a Major chord to a dom7 on E9

IRECENTLY STUMBLED ACROSS A new-to-me voicing for a nice 1>17 change(Ex. 7), and wondered how many ways I

could find to play that progression. This month’scolumn is a result of that process of discovery.

Recall that the dom7 is one of the mostimportant chords in music, particularly incountry music, as it sounds unresolved andgenerally sets up and anticipates a change fromthe current played chord to a chord a 4th higher,i.e., the 1 to the 4 chord, the 5 on up to the 1, etc.(1>17>4; 5>57>1; 2>27>5).

In most styles of music it is used chiefly forthose chord shifts. However, in blues, EVERYchord is often played as a dom7 or dom9 chord.

To explain how to play these chords, I’vecustomized what is the typical modern E9copedent to include several commonly usedalternate changes for our 4th hanging knee lever,the G lever as it’s commonly called.

I’ve organized the tab mostly by what changes itrequires to achieve the dom7 voicings shown. But,I’ve also kept together voicings that are similar,no matter what lever or pedal changes are needed.

So you’ll see the first 2 voicings are “StandardCopedent” changes, followed by similar voicingsthat use some alternate G lever changes. I hopethis makes sense to you.The small triangle to the right of a chord name

means a Major7 chord.The smaller italic numbers in front of fret

numbers on the tab are the scale degrees of eachnote, so you can study what changes you’remaking to each chord, and where.“Splits” are notes you achieve by combining apedal and lever that raise and lower the samestring.

Professor Twang’s E9 Grab Bag!

Take your time going through these examples, Isuggest you play along with tracks where dom7chords are appropriate, and see which voicings suityou best.

Don’t worry if your E9 setup doesn’t have allthese changes to experiment with, I doubt anyonedoes. Just use what you have to do what you can.Focus on the Standard Copedent methods if yoursteel’s setup is similar. Some of the options youdon’t have you can emulate by tuning open stringsup or down to achieve the pitch change that thecorrect knee lever change would yield.

I hope this opens up your eyes to new ways toplay your dom7 chords.

I show many examples of the C Major root notedescending as a leading tone to the b7 note. Youmay omit that intermediate Maj7 chord if you like,and go straight from the Major to the dom7.

I also show 2 examples of the 6th scale degreeclimbing a half tone to the b7 note to change theMajor6 chord to a dom7 (Ex. 3 and 16).

You’ll want to consider the use of these chords incontext: if I play the dom7 chord this way, where isthe nearest, easiest way to play the resolving majorchord?

I have intentionally not delved into extendedforms of dom7 chords for the sake of brevity, sothere are just a couple of dom9’s in passing, and nodom11 or dom13 chords or their altered forms.

It’s quite possible I’ve overlooked some ways toplay a dom7 chord. Please email to let me know ifyou know some obscure way that didn’t occur tome, I’ll add them to my August column along withcredit for your brilliance!

Till next time…play purty! Professor Twang©John McClung 2016. All Rights Reserved.

continued �



EX. 1Standard Copedent


EX. 3Non-Standard Copedent;ascending to b7 note

continued �

��

C

5 83 8

1 8

C�

5 83 8

7 8E

C7

5 83 8

b7 8

��

C6 3

5 33 3A1 3B

C7

b7 3G1

5 33 3Ab7 B/G1

��

C

1 1

5 13 1E

C6

1 1

6 1G2

3 1E

C7

1 1b7 1B

3 1E

��

C

1 8G3 8

5 8

C�7 83 8

5 8

C7

b7 8D1

3 8

5 8


EX. 6Non-Standard Copedent

��

C

5 3

1 3B

C�

5 3

7 3

C7

5 2F

b7 2

EX. 8Standard Copedent;Ex. 7 with 3 notes

��

C

5 33 3A1 3B

C�

5 33 3A7 3

C7

3 2D1

5 2F

b7 2*[ ]*If you raise string 1 a half

tone, and with the samelever lower string 6 a wholetone splitting with pedal B,then both strings 1 and 6will be b7 notes an octaveapart. If not, just leave string6 out of this progression.


��

C

3 81 85 8

C�

3 87 8E5 8

C7

b7 8D3 8

5 8


“Standard” Copedent

��

C

1 15 1G

3 1E

C6

116 1

3 1E

C7

1 1b7 1B

3 1E

� � � ��

A

+C#

+C#

PF

-A-F#

-A

LKL LKV LKR

B

+A

+A

C

+F#+C#

F

+F

+F

V

-A#

-A#

E

-D#

-D#

D -D/C#(D1/D2)

-C#

name

position Pedals

G +G# +E

-F#

G1 +G

+G

G2 +G +E

+G#

G3

-G

-G

��

� � � ��

��

RKL RKR Alternate G lever changes


�


EX. 13Standard Copedent;Splits

��

C

185 8

C�

775 7A/V

C7

b7 65 6A

EX. 14Standard Copedent: Nosplits, same voicing as #13

��

C

185 8

C�

78E5 8

C7

b7 65 6A

EX. 15Standard Copedent: 3-note chords, dom9’s

��

C

381 85 8

C�

387 8E5 8

C9

9 6b7 65 6A

EX. 17Franklin pedal

��

C5133 13

1 13

C�5133 13

7 13V

C75133 13

b713PF

EX. 18Franklin pedal, octavelower than Ex. 17

��

C

113

5 133 13E

C�

713V

5 133 13E

C7

b713PF

5 133 13E

EX. 16Non-Standard Copedent;ascending to b7 note

��

C

53

3 3A

C6

6 35 3

3 3A

C7

b7 3G1

53

3 3AThis works on all 4main grips.


��

C

533 3A1 3B

C�

533 3A7 3

C7

533 3A

b7 3B/G


��

C

5113 11F1 11A

C�

5113 11F7 11A/V

C7

511311F

b711

EX. 11Half-pedal, matchesEx.10

��

C

5113 11F1 11A

C�B°/G#°

5113 11F7 111⁄2A

C7

511311F

b711

EX. 12Standard Copedent;Splits; cool changes

��

C

5333A1 3B

C#7(B°)(G#°)

#544 4A7 4B/G

C7

533 3Ab7 3B/G

EX. 19Non-standard copedent;same as Ex. 9

��

C

5 33 3A1 3B

C�

5 33 3A7 3

C7

5 33 3Ab7 3G3

This works on all 4main grips.

Page 6� � � � � � � � � � � Steel Guitar Rag’

NEWNEW

NEWNEW

TCA-500CFull Size Combo

MC100 Handy PatchMIDI Controller

TLF-Pre500 Lite-FlightPreamplifier System

TCA-500CMini-15 Combo

TCA-500CMini-12 Combo

TCA-500CHead Unit

TCA-500C212 Super Twin

• Lightweight, from 22 - 35 pounds + EQ unit (when so equipped).• All configurations equipped with Telonics 12" or 15" Speaker.• High output level available on demand, 500 watt power amp section.• Studio Post-EQ parallel effects loop with adjustable SEND and

RETURN levels to accommodate any EFX unit(s) (rear panel mounted).• Special “Blend” EQ control for personalizing your tone or adjusting

for venue. (Once properly adjusted, volume and blend are theonly adjustments generally used).

• Special power on/off control to minimize “pops” and speaker damage.• Super quiet mute circuit with LED indicator.• Overload LED indicator.• Buffered tuner output. Remains active when mute is on.• Pre-EQ insert for EQ or 3-wire pedal hookup.• Auxiliary stereo inputs for home practice or solo gigs with

front panel level control. May be used with CD/MP3 players orcan be used as a second effects return.

• Auxiliary signal is converted to mono and sent to DI for recording.• New highly abrasion-resistant outer surface, durable Baltic Birch

ply construction throughout. Made for years of trouble free use.• Master Wet /Dry fader control.• New advanced electronic reverb with front panel level control

and remote on/off control jack.

• External speaker capability standard in all models, starting withthe TCA-500C.

• Built-in Telonics “BRO” effect with remote on/off control jack,Telonics “BRO” bar included.

• TRS pedal switch jack on rear panel. Allows switching “BRO”and Reverb remotely.

• Balanced XLR Direct output for stage and studio use.Includes ground lift switch.

• New Analog DI modeling for Direct Out for live venue or studio use.• High output headphone amp with separate volume control.

Can be used as a second effects SEND.• All pure analog, main signal chain. No digitization of your

sound through A/D or D/A converters.• Warm tube-like, even-order harmonic sound with crystalclear highs.• Ultra low noise - studio quality.• Exceptionally high headroom.• Superb string separation at all volume levels. No muddiness!• Front mounted AC Mains on/off power switch.• New Telonics Tilt Foot - will not rattle.• Highest quality Telonics NEO Speaker (12 or 15 inch).• Proudly made in the U.S.A. by musicians and engineers.

The TCA-500C Combo chassis is now available in variousThe TCA-500C Combo chassis is now available in variouscabinet configurations to suit most applications.cabinet configurations to suit most applications.

[email protected] • (480) 892-4444 • www.telonics.com • www.tpa-az.com

http://www.songwriter.com/bradshaw/chord_construction.php

� Tom Bradshaw has provided some great information regarding the steel guitar. It begins with a brief history of the instrument, a quest for volume, the addition of pedals, players and much more.

� By clicking on the link below, you will be directed to Tom’s website. After adding your name and email address, he will provide the information to you. The info is free.

� Go down to the bottom of the document and you will be taken to additional chapters regarding; Chapter 2: The Major ScaleChapter 3: The E9th CopedentChapter 4: Major ChordsChapter 5: Dominant ChordsChapter 6: Minor chordsChapter 7: Augmented ChordsChapter 8: Diminished ChordsChapter 9: The 15 Major Scales and TriadsChapter 10: Running ScalesChapter 11: Dyads & Triads Where least ExpectedChapter 12: “This & That” About ChordsChapter 13: Tablature & Additional ResourcesChapter 14: “Just The Beginning:

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Ph. 970-664-2518 www.mullenguitars.comFax 970-664-2519 E-Mail: [email protected]

Cell: 3 1 0 - 4 8 0 - 0 7 1 7 ��O l y m p i a , W A 9 8 5 1 2Email: s t e e l g u i t a r l e s s o n s @e a r t h l i n k . n e t

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Mr.TwangPedal Steel GuitarSessions � Casuals � Lessons

LESSONS: Private � Classes � Skype™

John McClung

GFI MUSICAL PRODUCTS

PEDAL GUITARS CASES STORAGE SEATS

ROBERT “Bob” DIEKMEIERGeneral Manager

220 Green Ridge Loop Off. 417-859-2161Marshfield, MO. 65706 Cell 417-241-1070

e-mail: [email protected]

Traders Corner

The Steel Guitar ‘Rag’ is the Official Publication of the

Southwestern Steel Guitar Association.

www.swsteelguitar.comPlease feel free to contact any member

of the Board with questions or concerns:Troy Porter, Chairman, (928) 200-1624, [email protected]

Roy Brown , (520) 429-0290, [email protected] Harrison, (520) 668-8897, [email protected]

Peggy Porter, Treasurer, (928) 701-1488, [email protected] Shill, (602) 684-9228, [email protected]

Regarding this newsletter,or material for future issues, contributing articles, photos, etc.,

Contact: Bill Tauson, Editor, (562) 652-9977 or email at,“[email protected]”

***Invite a friend or fellow musician to the join the SWSGA!***

P.O. Box 1129Globe, Az. 85502

Documents

Steel Guitar Rag · 2017-04-08 · Steel Guitar Rag April 2017 Board of Directors Troy Porter-Chairman Ray Harrison-Position TBD Roy Brown-Position TBD Peggy Porter-Treasurer Otto