C6th familarity!

Bob Wood · From: Madera, California, USA

Ok! I'm having problems trying to find my basic chord patterns for easy I, IV and V chords on the C6th neck. On E9th it's easy..., I chord, open strings, no pedals or kneelevers. IV chord, pedals A&B down, no kneelevers. V chord, same as IV except up two frets! Simple! A person can play all night long using just that method. Are there easy patterns on C6th like that? I mean, I know there are..., but give me some examples that I can put to good use! Something that every good C6th player uses all the time!

Bob

Jim Cohen · From: Philadelphia, PA

OK, Bob, here ya go:

I chord: open position (root on strings 3, 7 or 10)

IV chord: right under the I chord, but use pedal 6 (think of it like your A&B pedals, right under the I chord)(root on 9th string)

V chord: same as IV chord but 2 frets up!

Voila!
Enjoy!

[This message was edited by Jim Cohen on 16 June 2004 at 05:50 PM.]

Jim Smith · From: Midlothian, TX, USA

You can do the same pattern with P6 as with pedals A&B.

C Dixon · From: Duluth, GA USA

Root is on the 2nd string also.

In addition the V7 chord is two frets down from the I chord with the 8th pedal; only don't use the 3rd string (in this application), although you can lower the C to B to turn it into a nice V9 chord; with 3 roots. Great chord. I use it all the time.

Also Pedal 5 gives you a II7 chord at the I fret which means you get the I7 two frets down from the I position. or the V7 chord down two frets from the V chord position.

Now having said that, the analogy to A and B on our E9th neck is stretching it bit. Yes you can go from one chord to the other with the above information, but it sure won't sound the same. This is WHY we have the C neck. Because it allows other musical styles of going from one chord to another.

This is why many jazz tunes and western swing and popular songs lay better on C6 than E9th. Keep this in mind as you experiment.

The 7th pedal gives you the V chord at the I chord fret or gives you the I chord at the IV chord fret. Only just use the top 6 strings (G on top).

Eliminating certain strings is crucial to C6 when using various pedals and knee levers. This will be frustrating at first. But well worth the effort.

Tread sloly and softly until your ears get acclimated to the differences in going from one chord to the other on the two necks. There is gold in both of them,

May Jesus richly bless you in your quests,

carl

Bengt Erlandsen · From: Brekstad, NORWAY

The C6 follow the same rules as the E9 does even though the pedals does some things that don't seem related at all.
First identify on the C6 that strings 7 6 5 - 3 2 played at 4th fret = string 8 - 6 5 4 3 on the E9.
You could play the 4th string on the C6 ( which would equal 2nd string lowered to C# on the E9) but that will confuse the picture for now.

Since we don't play the C6 4th string for this example be aware that as one moves the bar up(higher fret) the note that we don't play on the 4th string will be found on the 5th string in the next position so there we don't play the 5th string.

OK, here is one example, Open A+F & A+B similarities.
On the E9 one can play strings 8 5 3 open E chord E B G#, slide up 3frets (raise E's to F) E7 G# D B press A pedal E chord G# E B, Slide up another 4 frets and relase knee(E's-F) and press B pedal E chord B G# E

At 4th fret on the C6 play strings 7 5 2 Same E chord E B G#
Slide up 3 frets and raise original Root note a half tone w P8 (or knee lever that raise 7&3 C-C#) E7chord G# D B
To raise 5th string a whole tone (=E9 Apedal)one needs to skip to the 4th string so play strings 7 4 2 Echord G# E Band slide up another 4 frets and release the raise on string 7 and raise highest note w P6 Echord B G# E

Too see the movement of the note(string)not played within a grip(Right Hand) try this on the C6.
Press P5 & P6 and hold them down for the whole example.
At 5th fret play strings 6 5 4 ( G# B D = E7 ) the note not played is presently at the 3rd string ( note = F and would make voicing = diminished if included)
So again w P5 & P6 play at



 5th fret strings 6 5 4     G# B  D


 8th fret strings 6 5   3   B  D  G#


11th fret strings 6   4 3   D  G# B


14th fret strings   5 4 3   G# B  D


17th fret strings 6 5 4     G# B  D

Understanding why the two voicings at 14th and 17th fret are the same and why/where the same note (played or not) appear at different strings when moving up/down the neck is one key to master the instrument.

Bengt Erlandsen

[This message was edited by Bengt Erlandsen on 17 June 2004 at 12:54 AM.]

Bob Wood · From: Madera, California, USA

Geez guys, slow down. I'm writing as fast as my picking hand will let me!

Now I just gotta get over to my studio and try some of these out! Thanks everybody! Keep 'em coming!

Bob

Jeff Lampert · From: queens, new york city

Bob W.,

Check out my link below. You might find something of use there, but keep in mind that it is oriented around C6 players who want to play traditional jazz. In particular, click on the "Getting Your Feet Wet" page, which revolves around a Dm7, G7,C progression, the basic progression of traditional jazz. .. Jeff

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[url=http://www.mightyfinemusic.com/jeff's_jazz.htm]Jeff's Jazz[/url]

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