| Author |
Topic: Playing major 7th's on a C6th Tuning |
Kevin Bullat
From:
Huntington Beach, CA
|
Posted 5 Jan 2006 2:04 pm |
|
I've got a quetion for those in the know. While I do love the C6th tuning on my Fender T8, one drawback seems to be the ability to play a major 7th chord/dyad/sound.
I've got minor 7th's and a neutered 7th (I,V and vii), but I can't seem to find a major 7th.
Should I just use the I,V, vii grip, just sound a 7th single note when the rest of the band is playing a major 7th chord?
I do have a E7th tuning on one neck, but would like to know if there's anyway to play a major 7th sound.
Thanks for any advice.
------------------
I told my wife my girlfriend is a blond Fender with 3 necks.
|
|
|
|
basilh
From:
United Kingdom
|
Posted 5 Jan 2006 2:08 pm
|
|
Open strings 1-2-3 Fmaj 7 (Let the bass play the root)
------------------
| Quote: |
| Steel players do it without fretting |
 
|
|
|
|
Stephan Miller
From:
Silver Spring, Maryland, USA
|
Posted 5 Jan 2006 2:49 pm
|
|
Hey, Kevin-- (Edited to say this assumes that the 1st string of your 8-string C6 tuning is a G. If it's an E, then strings listed as 4-3-2 below become 3-2-1 etc.)
If you'll settle for a rootless major 7th, it's as easy as strings 4,3, and 2 under the straight bar. Start by looking at those strings (open position) on your C6 neck. A,C,E together are a minor triad, but can also form the top 3 notes of an F major 7th chord.
If you want the root note in there it's a little tougher. One way to get it is with a 4-string forward slant. For a C maj 7, put the tip of the bar on fret 11, string 3. Angle the bar so that it also catches fret 10 string 4, fret 9 string 5, and fret 8 string 6.
Another inversion of the rootless maj 7 is strings 6, 4, and 3 under the straight bar, which puts the seventh note at the bottom of the chord.
Or you can bar strings 6-4-3-2 and pull the $#@! outta that wound 6th string with your ring finger till it goes up half a step (or the string leaves its groove in the nut).
Or you can just bar 4-3-2 and hum the tonic note real loud! 
Up to now, the "rootless" maj 7 is the only version I have in hand...
--Steve
[This message was edited by Stephan Miller on 05 January 2006 at 02:59 PM.] |
|
|
|
Rick Garrett
From:
Tyler, Texas
|
Posted 5 Jan 2006 2:57 pm
|
|
"Or you can just bar 4-3-2 and hum the tonic note real loud!"
HAHAHAHA! Oh man that one hurt my sides a little. Good info and very funny all in one post. Good job
Rick
|
|
|
|
Kevin Bullat
From:
Huntington Beach, CA
|
Posted 5 Jan 2006 5:54 pm
|
|
| Thanks for the info everyone. |
|
|
|
HowardR
From:
N.Y.C.-Fire Island-Asheville
|
Posted 5 Jan 2006 5:58 pm
|
|
| What is a neutered 7th? |
|
|
|
Ray Montee
From:
Portland, Oregon (deceased)
|
Posted 5 Jan 2006 6:20 pm
|
|
| Howard, in western swing, the pro's from down Texas way say it's really quite close to what New Yorkers might refer to a homogenized fifth. As for myself, I no longer read music. |
|
|
|
HowardR
From:
N.Y.C.-Fire Island-Asheville
|
Posted 5 Jan 2006 7:32 pm
|
|
| dominent? |
|
|
|
John Bechtel
From:
Nashville, Tennessee, R.I.P.
|
Posted 5 Jan 2006 9:07 pm
|
|
If you tune your 8-str. C6 like a lot of people do, your Bass-Root would be on Str. #8. [F]-A-C-E-(*G)-A-C-E = F Maj.7+9th.(*G)
------------------
“Big John” Bechtel
’05 D–10 Derby – (6 & 
’65 Re-Issue Fender Twin–Reverb Custom™ 15”
Current Equipment
Newest Steel |
|
|
|
Denny Turner
From:
Oahu, Hawaii USA
|
Posted 6 Jan 2006 12:27 pm
|
|
In a standard 6th tuning (1 3 5 6 1 3):
V6 chord fret position gives you IMaj9 chord (5 7 2 3 5 7) ...with the remaining notes of the scale (4 6 1 2 4 6) at IV6 chord fret (those 2 frets forming the Maj7 scale box). ie G6 chord = CMaj9 chord; C6 chord = FMaj9 chord, etc.
http://www.dennysguitars.homestead.com/092901_5.html
(Simple Maj7 example / exercise is linked on the right sidebar).
See Threadzilla index ...where even the basic-level postings cover the Maj7 (Ionian) position and frets-box, and moving between the Maj7 and Dom7 (Mixolydian) fret boxes. Notice that the threadzilla INDEX breaks the postings down into basic, intermediate and advanced levels so folks looking for basic stuff don't neccessarily have to wade through the higher theory / application discussions.
Aloha,
DT~
[This message was edited by Denny Turner on 07 January 2006 at 05:58 AM.] |
|
|
|
Russ Wever
From:
Kansas City
|
Posted 16 May 2006 5:27 pm
|
|
| Quote: |
| What is a neutered 7th? |
There is no (3rd) note present that gives it a quality (gender) as far as whather it is Major or Minor.
~Russ |
|
|
|
Russ Wever
From:
Kansas City
|
Posted 16 May 2006 5:42 pm
|
|
For a complete Major Seventh (on C6th)
Example - F Maj 7th
Bar the C-string at fret 16 (M7th)
Bar the A-string at fret 15 (P5th)
Bar the G-string at fret 14 (M3rd)
Bar the E-string at fret 13 (Root)
~Russ
|
|
|
|
John Bechtel
From:
Nashville, Tennessee, R.I.P.
|
Posted 16 May 2006 9:37 pm
|
|
Wow! I should read my own Posts more often and then I might learn more! I must really be losing it, because; up until right now, I don't recall even Posting my above post of Jan. 5th., ’06! Although what I posted is true, I don't remember posting it at all¡¡¡  I didn't know I knew that!
------------------
“Big John”
a.k.a. {Keoni Nui}
Current Equipment
|
|
|
|
Jesse Pearson
From:
San Diego , CA
|
Posted 16 May 2006 10:04 pm
|
|
| John, that +9 = sharp 9. F major 9 is what I think you meant. |
|
|
|
Kevin Ruddell
From:
Toledo Ohio USA
|
Posted 17 May 2006 1:54 am
|
|
| You can get a C#maj7th chord by barring at the first fret the 456 strings and also hitting the 2nd string C open . Also a Fmaj7th chord by barring at the fifth fret strings 456 and hitting the first string E open |
|
|
|
J D Sauser
From:
Wellington, Florida
|
Posted 17 May 2006 3:42 am
|
|
If you look at most standad pedal steel C6th tunings you will find that the 9th string just seems to defy logic... it's an F note. F is IV to C. If you regard that F note as the root to an F-chord you will find that all what was C6th now makes up a big fat FM7 or a IVM7 relative to any 6th-chord bar position. In other words, you'd have to move the whole thing up a 5th (that's 7 frets) to make it X6th to XM7 (replace "X" with any chord name). You hear that over and over in steel guitar "jazz", mostly as an ending... usually running up 8 frets to quickly relocate to the 7th fret (from starting position)... can realy sound like Jazz.
The truth is, you realy don't need to have that bottom F note to make that M7 break ears... the bass will play the given root anyway, your playing position remains the same.
However, many pedal steel player recently giving again a little more attention to non-pedal playing seem to like to include that 4th bottom note in their tuning... not just because of custom or that particular chord, but because it opens up the tuning for a whole world of new grips and sounds. Maurice Anderson and Bobbe Seymore come to mind...
... J-D.
[This message was edited by J D Sauser on 17 May 2006 at 05:06 AM.] |
|
|
|
