9th chord harmonized scale - usable??

Hans Holzherr · From: Münchenbuchsee, Switzerland

I have yet to explore much of the B6th side of my universal E9/B6, but at some point I noticed that a 9th chord - in this example E9th done with the pedal that lowers the F# half a tone (pedal 6 on a C6 neck) - can be used for a "sort of" harmonized scale fragment with ONLY changing the fret position.



F#|--------------------------------|--------------------------------|


D#|--------------------------------|--------------------------------|


G#|--------------------------------|--------------------------------|


E |3b------------------------------|--------------------------------|


B |3-------5-------3---------------|--------------------------------|


G#|3-------5-------3-------5-------|3-------1-----------------------|


F#|3b------5b------3b------5b------|3b------1b------3b--------------|


E |--------5b------3b------5b------|3b------1b------3b--------------|


B |------------------------5-------|3-------1-------3---------------|


G#|--------------------------------|----------------3---------------|


E |--------------------------------|--------------------------------|


B |--------------------------------|--------------------------------|

... and even a quasi-chromatic descent:






F#|--------------------------------|--------------------------------|


D#|--------------------------------|--------------------------------|


G#|--------------------------------|--------------------------------|


E |3b------------------------------|--------------------------------|


B |3-------5-------4-------3-------|--------------------------------|


G#|3-------5-------4-------3-------|5-------4-------3-------2-------|


F#|3b------5b------4b------3b------|5b------4b------3b------2b------|


E |--------5b------4b------3b------|5b------4b------3b------2b------|


B |--------------------------------|5-------4-------3-------2-------|





G#|--------------------------------|--------------------------------|


E |--------------------------------|--------------------------------|


B |--------------------------------|--------------------------------|








|--------------------------------|--------------------------------|


|--------------------------------|--------------------------------|


|--------------------------------|--------------------------------|


|--------------------------------|--------------------------------|


|--------------------------------|--------------------------------|


|1-------------------------------|--------------------------------|


|1b------3b----------------------|--------------------------------|


|1b------3b----------------------|--------------------------------|


|1-------3-----------------------|--------------------------------|


|--------3-----------------------|--------------------------------|


|--------------------------------|--------------------------------|


|--------------------------------|--------------------------------|

Questions:
Would you consider using this progression to be "legitimate" or wrong-sounding. Personally, to me it sounds OK, and don't have a clue why it is so.

Are there any other chords with the same property? I think it works to some extent with 6th chords, too.

Hans

[This message was edited by Hans Holzherr on 23 May 2004 at 05:12 AM.]

[This message was edited by Hans Holzherr on 23 May 2004 at 05:13 AM.]

[This message was edited by Hans Holzherr on 23 May 2004 at 05:16 AM.]

[This message was edited by Hans Holzherr on 23 May 2004 at 05:18 AM.]

C Dixon · From: Duluth, GA USA

Hans,

Actually, lowering the 7th string a half a tone is the same as the 5th pedal on C6. And this pedal on C6 creates a II9 chord. So it becomes a great way to resolve a I chord to a V7 chord by first hitting the II7 chord (in between) in a lot of music.

Since you have a Universal, try the following ending phrase that will often embelish your solo work.

Key of G

You are finishing a song at the 3rd fret playing strings 4, 5 and 6. As the strings sustain, slide up one fret as you engage the E lever (lowering the E's) and that "C6th" 5th pedal).

Now strum from the 11th string all the way up to the 4th string. Listen to that chord, it is beautiful. Then slide back to the 3rd fret letting off the knee lever and the pedal.

If you happen to lower the first string along with the 7th string with that pedal, you can further embelish this ending by doing the same thing, except this time, strum ALL strings from 11 through 1. Now when you slide back to the 3rd fret you will bring in the Gmajor7 voicing and an even prettier resolve.

Try it. I believe ya will lack it

carl

Bobby Lee · From: Cloverdale, California, USA

I don't like the close interval between the 7th and 8th strings. To my ear, a 2nd turns to mud pretty quickly in the lower registers. Your milage may vary, though. I know a lot of swing players who find it acceptable.

I found it interesting when reading through Don Helm's "Your Cheatin' Heart" songbook, that he almost never uses the B and C# strings together. Maybe that's part of what separates his clean intros and solos from the pack of imitators.

Try to hear the difference between the notes on the E and F# strings, and decide which best fits the context of the chord progression. I think you'll find that a 3-note grip with the correct choice of notes will usually sound better than a 4-note grip that includes a 2nd interval.

------------------

Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (E6add9), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax

Hans Holzherr · From: Münchenbuchsee, Switzerland

Thanks, Carl and Bobby. Carl, that's a neat resolution. I would call the chord at the 4th fret a Cm6th. But I don't like the 7th string ringing with the final chord. I have a lever that raises it to G#. Otherwise, I have to mute it.

Hans

C Dixon · From: Duluth, GA USA

Hans,

I agree about the 7th string. The chord is an F9th (often called a Cmin6th) with the root being on the 12th string (whether it is played or not). It is the same chord as the 6th pedal on the C6 neck in the open position. Only in this case the 9th string is the root.

Incidently, for most practical purposes the 6th and 5th pedals repeat themselves (respectively) separated by 3 frets. IE, on a universal, If you play at the 1st fret and engage the 6th pedal (C6) with the E's lowered, you have the same chord mentioned above only 3 frets lower than the F9th at the 4th fret. In this case the 11th string is the root.

carl

[This message was edited by C Dixon on 23 May 2004 at 12:26 PM.]

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