All My Ex's intro: C6 to E9, a study of neck transposition

Alex Cattaneo · From: Quebec, Canada

Aaaaaaaall right folks, here it is. On an earlier thread, I found a post by Paul Franklin describing exactly what he played on the intro for this George Strait classic. I thought it would be a good exercise to try and arrange it for E9 using THE EXACT SAME NOTES.

So here's the tab for C6, straight from M. Franklin:

And here's my best effort to adapt it on E9. Ran into a serious problem at the end of bar 3. That's a full diminished 7th chord (A, C, Eb, F#) resolving to a full E6 chord (G#, B, C#, E). Wonderful. But I couldn't figure out a way to do it on my horn, in the correct range. But the same move going to A6 is possible: check out bar 2 going to bar 3. But going to E6 in that position would mean using open strings, not so good. One solution is to omit string 7 and play a slant. If anyone has another idea, I would love to hear it!

Other than that, it works!

Stuart Legg · Posted 1 Sep 2012 1:09 pm

How about this. The O means a 1/2 A pedal

instead of this

John Alexander · Posted 1 Sep 2012 1:58 pm

Nice job Alex.

Since I don't play E9 or C6, the first thing I looked at is the standard notation. I see some things that can or should be cleaned up there:

1. The song is in the key of A major, so the notation should be rewritten with the correct key signature, with the accidentals adjusted accordingly. The way it is notated as if in C major is much harder to read and understand.

2. The second chord of the second measure looks like it has an A# when it should be an A natural. Looking at it closer, I think that may just be an optical illusion resulting from the sharps on the notes immediately above and below it. Re-notating in the key of A will get rid of this one, though who knows what other similar situations may then pop up elsewhere.

3. In the last chord of the 4th measure the accidentals F# and G# are valid until the end of the tie that extends into the first chord of the 5th measure, but they don't apply to the two final chords of the 5th measure. So as it's written the 5th measure ends on a G7 chord instead of an E9. That problem will go away if you rewrite the tune in A major instead of notating it as if it were in C major.

Interesting project - thanks for sharing it.

(Edited to delete response to your question - which I hadn't understood correctly in the first place, and don't have an answer for.)

Henry Brooks · From: Los Gatos, California, USA

The easies way to get pedals 5&6's C6 voicing on E9 is the F lever and include string 9 and skip string 7. If you can raise string 9 to D# then you can slide into E6.
Henry

Stuart Legg · Posted 3 Sep 2012 1:21 am

John I agree with you. I assumed the C6 Notation and tab was written by Paul and I wasn't going to say anything so I just struggled with it and kept it the same.
There is no law against it.
I just wanted to point out that 1/2 A pedal trick that everyone uses.

Alex Cattaneo · From: Quebec, Canada

Here's the C6 version with the key sig fixed; as you can see, with all the chromatic movement involved, it doesn't make a huge difference in terms of readability... but it's true that this is the way it should be.

As per John's second point, changing the key doesn't really help; there are no sharps on the A, it is an optical illusion. If I was using a software like Finale, I would be able to tweak it a bit more but when you have chromatic movement and voicings with 2nds, that's what you get.

Henry Brooks · From: Los Gatos, California, USA

First Don't forget that the lowest note you can play on 10 string E9 is a B2, 123.47 Hz, or the C2 on the 7th string on C6 open. Second, there is a structural difference between the E9 chord on E9 and the F9, pedal 6, on C6. The E9 has an added note, string 8, which F9 doesn't have. So your going to have problems getting the lower C6 chord voicing on E9, note that the D string is missing in the Universal copedent. All of the Tabs, Jeff Newman and others, I have seen on playing C6 sounds on E9 are mostly using 3 strings. Getting the top note of the chord the same as the chord on C6 is what will bring out the melody the rest is just harmony.
BTW C6 pedal 4 Makes a C Maj7, 5 a D9, 6 a F9, 7 a C Maj9, 8 A7+9. As Larry Bell noted it's setup to play a 1 - 6 - 2 - 5 - 1 progression.
Henry

Bob Snelgrove · From: san jose, ca

Thanks, Alex

After all these years of faking it on C6 I can finally do it right!

bob
_________________
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https://www.youtube.com/watch?v=vZlAdlrRYj0

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1978 Crawford Emmons P/P
1976 Tommy White P/P
1986 Franklin D-10

Henry Matthews · From: Texarkana, Ark USA

I know nothing about reading music and you guys are good. I play it almost exactly like that on C6th with the exception I just use 1 pedal and 3 strings where you had 4. I'll try that. Thanks
_________________
Henry Matthews

D-10 Magnum, 8 &5, dark rose color
D-10 1974 Emmons cut tail, fat back,rosewood, 8&5
Nashville 112 amp, Fishman Loudbox Performer amp, Hilton pedal, Goodrich pedal,BJS bar, Kyser picks, Live steel Strings. No effects, doodads or stomp boxes.

Earnest Bovine · From: Los Angeles CA USA

Alex, I think it is great that you are using musical notation here so please don't feel that John & I are ganging up to criticize you. But anyway here's another suggestion that makes reading easier. At the begining of bar 1 and again at bar 2, are a pair of parallel chords. By "parallel", I mean that they are the same chord, and the intervals are exactly the same, and the only thing different is that the 2nd one is a half step higher. Easy on the steel since you just move the bar. But the chords don't look the same: the top interval on the first chord is an augmented 2nd, sliding to a minor 3rd. And top interval in bar 2 is a diminished fourth sliding to a major 3rd. It is much easier to read if the same intervals in the 2 chords look the same.
Either of these alternatives would work (I prefer the first but opinions vary):

Also, maybe the guitar clef (treble down an octave) is better than the grand staff of 2 clefs. It's certainly more compact.

Another idea: on E9 you can play the first bar on fret 6 sliding up to 7, up to fret 10 on beat 4. I think that's easier but either way works.

The last page of your E9 is missing; Bm7 to E9, B on the bottom I'm sure you notice it lies on open strings, even if you have only 10 strings.

What program do you use for notation? Does it let you slide those sharps around when they collide?

John Alexander · Posted 21 Nov 2014 1:16 am

Ian Rae · From: Redditch, England

Ron Shalita · From: California, USA

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