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Topic: C6th or F maj79? |
Andy Greatrix
From:
Edmonton Alberta
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Posted 22 Oct 2005 11:13 am |
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I recently started experimenting with this tuning.
E
C
A
G
E
C
A
F
Being new to C6th (I have been using E13th)
as soon as I started thinking in terms of Fmag79, I started finding more pockets and harmomized scales. Now if I could meld C6 and Fmag79 into one tuning in my head it should get some interesting results. does anyon have any suggestions?[This message was edited by Andy Greatrix on 22 October 2005 at 05:39 PM.] |
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Roy Thomson
From:
Wolfville, Nova Scotia,Canada
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Posted 22 Oct 2005 11:42 am
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Andy ,,,
Just a few comments,,,,
That is a great tuning and all the pedal steel players have it automatically on their second neck excluding the 1st and 10th string. It's right there.
So much available in chords
and melody without any pedals at all.
I had the pleasure of watching a Bobbe Seymore teaching video using your exact tuning and he demonstrated the potential
and got me working on it too.
"Born To Lose" was a song that he played
in the Key of C and it hangs around the 7th fret a lot which is the major 7th position.
You have a winner so stay with it.
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Andy Greatrix
From:
Edmonton Alberta
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Posted 22 Oct 2005 4:42 pm
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| Thanks for the encouragement Roy. |
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Kevin Ruddell
From:
Toledo Ohio USA
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Posted 23 Oct 2005 6:07 am
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| Andy , the great thing with this tuning is it allows you a Maj Seventh ( and ninth ) chord and gives you a low F along with your major triad of A and C on the 2nd and third strings which comes in handy for tunes like Canadian Sunset or Don't Get Around Much Anymore . Plus you can get a Major Ninth triad plucking the 2nd, 4th and 8th string . If you pick the 2nd , 3rd and 8th string open you can drop your bar on the first fret of your eighth string and get a diminished change. Or , a demented chord as Scotty called it at last years Steel guitar show. Some people use a low Bb and low C or G instead of the low F and A. |
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Travis Bernhardt
From:
Vancouver, British Columbia, Canada
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Posted 23 Oct 2005 1:09 pm
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Curious what you mean when you say, "as soon as I started thinking in terms of Fmag79, I started finding more pockets and harmomized scales."
Could you describe that process in a little more detail? What exactly did you discover?
-Travis |
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Andy Greatrix
From:
Edmonton Alberta
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Posted 23 Oct 2005 3:57 pm
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When I start learning a new tuning or a new instrument, the first thing I look for is the harmonized major scale.
Here is an example on this tuning.
If I start on the second fret, using strings 8, 6, and 3, I get a G chord inverted 1, 5, and 3.
Next, I go to the open strings and using the same string spacing I pluck strings 7, 5, and 3, gettting a 2minor chord inverted 1, 5, and flat 3.
Two frets up I get a 3minor chord.
On the open strings 6, 4, and 1, I get a 4chord inverted 1, 5, and 3.
Two frets up, get a five chord.
On the fret 7, on strings 7, 5, and 2, I get a 6 minor chord.
For the 7 interval in the scale, I go to fret 9 and pick strings 7 and 2, avoiding string 5.
For the 8 (or tonic, an ocave up), I pick strings 6, 4 and 1 on the 7th fret.
[This message was edited by Andy Greatrix on 23 October 2005 at 05:00 PM.] [This message was edited by Andy Greatrix on 23 October 2005 at 05:02 PM.] |
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Travis Bernhardt
From:
Vancouver, British Columbia, Canada
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Posted 24 Oct 2005 12:51 pm
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Cool. So it looks like thinking of the tuning as being an Fmaj9 helped you to find harmonized scales in a small area. Is there some reason why you had difficulty finding those harmonized scale positions while thinking of the tuning as C6? I'm always curious how people learn and think about their steel tunings, and it sounds like for some reason you had more success with a certain way of thinking--I'm kind of curious as to why.
-Travis
P.S. Using slants, you can complete your harmonized scale and stay in the same little two fret area. Your six chord, Em, is the E and the G back at the open position, and you can get a B by barring string three or seven at the second fret (or, in a different key than G, use a slant or leave out the fifth). Your seventh step of the scale, or your V7 chord, is a D7. Get the F#, the A and the C by fretting either the eighth string at the first fret or the first or fifth strings at the second fret, or do the equivalent slants. In the open position, you can even add the sixth string to get the D--or if you're really bold, you can get all four strings with a slant! |
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