seventh chord on C6

Peter Goeden · Post by **Peter Goeden** » 29 Jul 2006 7:00 pm

Could anyone tell me how to make a seventh chord when tuned low to high: 6,1,3,5,6,1,3,2 ?

Best I can figure would be up three frets from the major on strings 8,6,5,4,2

Thanks

basilh · Post by **basilh** » 29 Jul 2006 11:32 pm

You've got it, that's the inversion most of us use !!

Michael Johnstone · Post by **Michael Johnstone** » 30 Jul 2006 6:18 am

Tune your bottom string up a half step to a 7th(Bb)and that particular tuning will become a helluva lot more interesting - and not just for 7th chords.

Mark van Allen · Post by **Mark van Allen** » 30 Jul 2006 7:47 am

You could also use slants with strings 5,6, and 8 up one fret to b7, or strings 6,7, and 4 up one fret to b7, or strings 1,2, and 4 slanted up one for a 9th chord (no root). Slide back two frets where every note is a part of a 7th, 9th, or dom. 11th...

Craig Stenseth · Post by **Craig Stenseth** » 30 Jul 2006 9:17 am

Only having 6 strings CEGACE lo-hi I cheat and go 2 frets lower on the 2nd and 3rd strings (when going from the major chord to its dom 7th). It seems easier for me to find than going up on the 5th,4th and 3rd strings.

Andy Volk · Post by **Andy Volk** » 30 Jul 2006 10:18 am

Here are some of the possible dominant seventh voicings for 6-string C6th. If you put a Bb on the bass side on an 8-string you get a lot more possible voicings.

<pre>

7th Chords in C6th tuning.

Example: G7th

G7 G7 G7 G7 2nd string pull Em sub for G9th

E---------3-----------10-----------------12--------------------- |
C---2---------11---(p)11-----------------11-------------------- |
A---2-----2-----------10-----------------10--------------------- |
G-------------12------10---------------------------------------- |
E---1-----1---13------------------------------------------------ |
C--------------------------------------------------------------- |

G7 G7 G7 3rd string pull G9th

E---7------------7--------------------5------------------------- |
C----------------7--------------------5------------------------ |
A---8-----7---(p)8---------------------------------------------- |
G----------------7--------------------4------------------------- |
E---------5----------------------------------------------------- |
C--------------------------------------------------------------- |

</pre>
[This message was edited by Andy Volk on 30 July 2006 at 11:19 AM.]

Jimmy Smith · Post by **Jimmy Smith** » 30 Jul 2006 2:51 pm

You can also get a moveable seventh chord with a four string slant; but it take a steady hand:
ex: C7
E[----------------------------------------]
C[-----7----------------------------------]
A[-----7----------------------------------]
G[-----6----------------------------------]
E[-----5----------------------------------]
C[----------------------------------------]
It's a really tight voicing ans a tight slant. hope y'all like it.

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Peter Goeden · Post by **Peter Goeden** » 30 Jul 2006 5:33 pm

Thanks All. Great info.

Denny Turner · Post by **Denny Turner** » 30 Jul 2006 5:45 pm

All the stuff others have provided here is great stuff ....particularly for playing alone and/or where the root and triad is not defined.

But if accompanyment is providing root or triad definition, even moderate hints, ...then the Dominant 7 is voiced quite well in each and every Dominant 7 extension note being located 2 frets below the full 6th chord; Just omitt what note(s)is not desired, ...particular attention to avoiding the 4/11 except as passing note in moving harmonies, or in "stacato" rythm voice, or when otherwise desired. That position is also great because it's right there with the remaining notes of Dom7 scale in the full 6th chord, for melody, harmony and/or vamps. It is a great position to become very familiar with, ...and why it is used so much in non-pedal Steel.

Aloha,
DT~

Jesse Pearson · Post by **Jesse Pearson** » 30 Jul 2006 7:55 pm

Jimmy, the 6th fret on the G string is the b9 of your C7 chord and means your playing C7b9. Nice jazz chord.

Jesse Pearson · Post by **Jesse Pearson** » 31 Jul 2006 8:32 am

**I looked at this again and saw that the E string at the 5th fret is in fact the 13th of this C dom voicing. So there is no b7 or root in that voicing. I never heard of a C6/b9 chord before? However, I don't hear the dom sound disappearing because of the missing b7? The intervals look like this from high to low:

str fret note interval
2 = 7th = G = 5
3 = 7th = E = major 3rd
4 = 6th = Db = b9
5 = 5th = A = 13

**This chord voicing does have all the notes that make up an A7 chord, (which is probable what Jimmy meant to type I'm thinking):

str fret note interval
2 = 7th = G = b7
3 = 7th = E = 5
4 = 6th = C# = major 3rd
5 = 5th = A = root

***This is a new Dom 7 voicing I hadn't noticed before!

The upper three notes also make a stock C# dim chord. Thanks Jimmy...

str fret note interval
2 = 7th = G = b5
3 = 7th = E = b3rd
4 = 6th = C# = root [This message was edited by Jesse Pearson on 31 July 2006 at 11:01 AM.]

Jimmy Smith · Post by **Jimmy Smith** » 2 Aug 2006 10:09 am

I appologize, what I put down is an A7 Chord
Cstring=7=G=b7
Astring=7=E=5th
Gstring=6=C#=3rd
Estring=5=A=root
It is a root position dominant 7, voiced in straight thirds. That particular slant position is moveable as well. sorry for the mix up.

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