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Standard E9
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Modal E9
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Custom tunings
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Other custom setups
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Steel & Tonnetz
Since the changes in E9 are discrete and consistent, they can be adjusted slightly to have a different open mode. This requires a bit of compensation and changes the functions of some levers depending on which intervals are changed. Every other mode is still accessible from these variations but they have different voicings compared to major/standard E9.
The M and K levers will have to have their stops adjusted, it won't be enough to just tune them differently in the changer. The low E string can be detuned without issue but the high E string is locked to the stop distance (
too many changes on one string). K is not quite as important as R/S/M so it can be disregarded if it's too much of a hassle, but M is absolutely necessary.
Each mode is cumulative, requiring all of the modifications (
bolded) from higher modes. Some of these are just to keep the existing function for a different interval, like the 3^4 S change when G# is tuned down to G. These modifications assume that there are exactly two of each note, for five pairs total, and that every change is identical between both of them. The base copedent for this is on my E9 standard page. The third pedal is the only pedal that spans two different notes, so it won't be accounted for.
| | R | S | K | M | Q | N |
|---|
| Lydian | G# | | A# +2 (M3^4) | | | | |
| Major (standard E9) |
| Mixolydian | D#vD | | | | | | (m7vM6) |
| E | | | | D -2 (1v7) | | |
| Dorian | G#vG | | A +2 (m3^4) | | | | |
| F# | | | | | G +1 (M2^m3) | |
| Minor | B | C +1 (5^m6) | | ? | | | |
| Phrygian | F#vF | | | | | ? | |
| Locrian | BvBb | C +2 (d5^m6) | | ? | | | |
As kind of mentioned on the E9 page, all positions that have 7ths have two triads contained within them. Because the voicings of these chords when played in a modal tuning sound distinct from regular E9 voicings, the association to the root chord shouldn't be as obvious (in theory, of course). The first chord in each cell is implied to have the 7th, while the second is just a triad. In the regular E9/Maj copedent, the RS position is more accurately realized as IV6, meaning ii is technically the main chord of that position even if it doesn't necessarily sound like it (I'm trying to keep a consistent system here!). RSQ has the main IV chord.
| Lyd | Maj | Mix | Dor | Min | Phr | Loc |
|---|
| Open | I & iii | I & iii | | | i & III | | |
| R | vi | vi | | | VI | | |
| M | iii & V | iii & V | | | III & v | | |
| S | Is4 | Is4 | | | is4 | | |
| N | I7 & iii° | I7 & iii° | | | | | |
| RS | II7 & #iv° | ii & IV | | | | | |
| RM | iiis4 | iiis4 | | | IIIs4 | | |
| RK | VI | VI | | | | | |
| MS | V & vii | V7 & vii° | | | v & VII | | |
| SN | | v & bVII | | | | | |
| RMS | vii & II | viiø & ii | | | VII7 & ii° | | |
| RSQ | #ivø & vi | IV & vi | | | iv & VI | | |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 |
|---|
| Open | RS | M | RSQ | MS | R | RMS |
|---|
| | | | | | | |
| F# | 2 | 1 | 7 | 7 | 5 | 4 | 3 |
| D | 7 | 6 | 5 | 4 | 3 | 2 | 1 |
| G | 3 | 3 | 1 | 1 | 7 | 5 | 5 |
| E | 1 | 7 | 5 | 5 | 3 | 3 | 1 |
| B | 5 | 5 | 3 | 3 | 1 | 1 | 7 |
| G | 3 | 3 | 1 | 1 | 7 | 5 | 5 |
| F# | 2 | 1 | 7 | 7 | 5 | 4 | 3 |
| E | 1 | 7 | 5 | 5 | 3 | 3 | 1 |
| D | 7 | 6 | 5 | 4 | 3 | 2 | 1 |
| B | 5 | 5 | 3 | 3 | 1 | 1 | 7 |
The non-diatonic charts won't be as in-depth as the charts for standard E9, at least for the time being. All of those chords can be inferred from fretboard position, what's important is knowing exactly what chord results from each combination relative to a single position.