C6 chord chart, hope it helps

TRAP TRULY · Post by **TRAP TRULY** » 10 Aug 2002 4:40 pm

hey guys,
I put together a four page c6 chord chart using the standard setup w/ 2 knees.the chart display might take a little while to download so if you want just click to the right of where it says c6 chart and it will go to a printable form.
hope it is all correct and helps out.
thanks, trap

check below post for explination of chart http://dogriverpub.com/trap/trap.htm [This message was edited by TRAP TRULY on 11 August 2002 at 04:12 PM.]

David Norris · Post by **David Norris** » 11 Aug 2002 1:16 am

I thought your chart was really nice, but I don't understand you fret position column....
care to ellaborate?

thanks,
David

------------------
MSA Doubleneck Super Sustain II Classic
National Lap Steel
Dobro
click here to check out my country tunes
click here to check out my rock tunes

CrowBear Schmitt · Post by **CrowBear Schmitt** » 11 Aug 2002 4:56 am

Thanx TT, your chart does help.
i love C6 even more than E9 so i'll be studying the phenomena...
i assume the fret positions are based on the 0 position:
C=0 or 12 fret.
+ 5 is 5 above 0
- 2 is 2 below 0 and so on.
Keep up the good work TT

Steel What?
[This message was edited by CrowBear Schmitt on 11 August 2002 at 05:57 AM.]

TRAP TRULY · Post by **TRAP TRULY** » 11 Aug 2002 12:14 pm

I forgot the explination. Any 0 position is open position,or no pedals engaged. for example is you were looking for a major 7 chord in the key of c you would go to the 12th fret open position and hit strings 3,4,5,6,7 or any combo of those strings.

for an inversion of the C mj 7 chord,you could go 5 frets above open C at the 12th fret and hit strings 7,6,5,4,3,2 while engaging the 7th pedal.

+ means fret positions above the open position in any key
- means fret position below the open position in any key

hope this clears it up.
trap

Sam Minnitti · Post by **Sam Minnitti** » 12 Aug 2002 6:14 am

Trap,

Great chart, thanks for putting it together and sharing it with us.

I find this Emmons approach to chord charts one of the easiest to follow, especially compared to diagrams, which are often filled with confusing symbols.

------------------
www.samminnitti.com
[This message was edited by Sam Minnitti on 12 August 2002 at 07:15 AM.]

Paul McClure · Post by **Paul McClure** » 14 Aug 2002 9:30 am

Trap,
Thanks for the chart. One question - shouldn't the DIM row say "every 3 frets" instead of every 4?
thanks,
Paul

TRAP TRULY · Post by **TRAP TRULY** » 14 Aug 2002 10:33 am

the dim. should read every 3 frets. Also the first dom.7b9 chord should read -2.
[This message was edited by TRAP TRULY on 29 January 2003 at 09:24 PM.][This message was edited by TRAP TRULY on 24 April 2004 at 11:13 PM.]

Larry Bell · Post by **Larry Bell** » 14 Aug 2002 11:42 am

A diminished (or diminished 7th) chord is a stack of three minor thirds, so they invert themselves every three frets. A minor third is three half steps (e.g., C to Eb)

For example, Cdim
Spelling: C Eb Gb A
Each note is the same distance/interval apart

On C6, you would get that combo open with P5 and 6 on strings 4-7.

If you play those notes and go up 3 frets (to the third fret) it becomes
Eb Gb A C

Hope this helps

------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro

Bobby Boggs · Post by **Bobby Boggs** » 14 Aug 2002 8:34 pm

Larry,for some reason I can't remember this.Could be cause it's been 20 years since I've studied this.But is a 1/2 dim simply a major triad with a flat 5?

Thanks----bb

CrowBear Schmitt · Post by **CrowBear Schmitt** » 14 Aug 2002 11:09 pm

a half diminished has:
minor third
dim. fifth
minor seventh
Steel What?[This message was edited by CrowBear Schmitt on 15 August 2002 at 12:11 AM.]

Jeff Lampert · Post by **Jeff Lampert** » 15 Aug 2002 3:55 am

A half-diminished chord is more commonly written as a m7b5 or m7(b5) (minor 7 with a flatted 5th). While virtually non-existent in country, rock, and modern pop music, it is a staple of jazz standards. It's most fundamental usage is to take the basic ii,V progression in jazz, and impart a "dark", more emotional sense to the musical dynamic. When there is a m7b5 chord, it will often we followed by an altered dominant 7th chord, which continues this emotional, sad kind of sound. And it's most common resolution will be to a minor chord for the same reason. So, in the key of C, a common "happy" progression is Dm7 / G7 / Cmaj7. A "sad" or "moody" progression would be Dm7b5 / G7b9 / Cm7. Playing a Dm7b5 on the C6 tuning is easy. Fret 5 with pedal 6, strings 3,4,5,6,7,8, tonic on string 8. A G7b9 would be the same fret with pedals 5,6, strings 3,4,5,6,7,8,9,10, tonic on string 10.[This message was edited by Jeff Lampert on 15 August 2002 at 02:22 PM.]

Dave Birkett · Post by **Dave Birkett** » 15 Aug 2002 9:47 am

Jeff, have you read "To Be or Not to Bop"? Diz recounts how he learned the chord. It's very interesting.

Bobby Boggs · Post by **Bobby Boggs** » 15 Aug 2002 11:05 am

Thanks so much Jeff.Been playing it (Dm7b5) for years and didn't know it.Over a Bb bass note I played it against a Bb7 Bb9th and Bb13 etc etc.I guess it's always about what the bass player plays.That can be a scary thought.

Any idea why some call it a 1/2 dim? Since both the 3 and the 5 are flatted. The minor 7 flat 5 makes way more sense to me.But then as you can tell.I'm not a school musician.Thanks for helping us dummies.

~~~~~bb

Jeff Lampert · Post by **Jeff Lampert** » 15 Aug 2002 1:21 pm

Over a Bb bass note I played it against a Bb7 Bb9th and Bb13 etc etc

The notes of a Dm7b5 are shared by an Fm6, E7b9aug5 and, as you point out, Bb9 (and other chords as well I'm sure). But in the context of playing a Bb9 (or Bb13), that chord would not be considered a Dm7b5, for two reasons. First, since it's played with a Bb in the bass, the chord is acting as a 9th chord, which would be in a totally different capacity. Almost invariably, a Dm7b5 will be followed by a G7 (dominant 7th), and usually an altered one at that. (b9, #9, b5, #5). And then it will resolve to the Cm7 (not an Am7. I corrected my last post). This forms a ii,V,i. It is only within that dynamic that it is a Dm7b5. [This message was edited by Jeff Lampert on 15 August 2002 at 02:23 PM.]

Jeff Lampert · Post by **Jeff Lampert** » 15 Aug 2002 1:31 pm

Any idea why some call it a 1/2 dim?

In my fakebooks, it is always called a m7b5, so I don't think it's called a half-diminished very often. I think it's called a half-diminished based on the fact that you are starting with a minor 7 chord. When you half diminish it, you are flatting the 5th. When you fully diminish it, you are flatting the dominant 7, effectively making a 6 out of it. A fully diminished chord is normally called a diminished 7, which is of course a pretty common chord found in a lot of modern popular music, unlike the half diminished m7b5.

Jeff Lampert · Post by **Jeff Lampert** » 15 Aug 2002 1:32 pm

have you read "To Be or Not to Bop"? Diz recounts how he learned the chord

I haven't read it. Would you care to summarize what Diz said?

Dave Birkett · Post by **Dave Birkett** » 15 Aug 2002 10:32 pm

Diz first heard Monk play the chord in the late 30s at Minton’s Playhouse. Monk called it a minor 6th with the 6th in the bass. Monk showed him the progression of going from let’s say an Ebm6th with a C in the bass to an F7. It wasn’t until much later that the chord was called a Cm7b5 or a half-diminished. Diz then used and extended the progression. An example is his intro to “Round Midnight”: Am7b5/D7#5/Gm7b5/C7#5/Fm7b5/Bb7#5/Ebmmaj7.
It's a much darker, more evocative sound than a minor seventh. You can really hear the difference in Miles'(or should I say Cannonball's) "Autumn Leaves."[This message was edited by Dave Birkett on 15 August 2002 at 11:38 PM.]

steve takacs · Post by **steve takacs** » 21 Apr 2004 12:38 pm

I'm bumping this one up for guys not familiar with it. Great C6 chords charts by Trap Truly . steve

John Bresler · Post by **John Bresler** » 4 Feb 2006 10:13 am

TTT This is a great C6th chord chart.

Terry Sneed · Post by **Terry Sneed** » 4 Feb 2006 4:25 pm

Very nice chart! Is there a similar chart for E9?

------------------
Mullen D10 /8x5 / session 500rd/ American Strat Highway 1 model
steelin for my Lord

Bud Harger · Post by **Bud Harger** » 4 Feb 2006 6:04 pm

Trap,

I've been using your C6th chart for a long time now...it is super. Thanks for doing it.

Best personal regards,

bUd

Sonny Jenkins · Post by **Sonny Jenkins** » 6 Feb 2006 10:13 am

Great chart,,,now I have to convert it to Jeff Newmans E9/B6 uni,,,,,,,,,,,,,,,,,,,,,,

Ray Minich · Post by **Ray Minich** » 6 Feb 2006 10:21 am

Terry, the chart for the E9th is included in Buddy's "Chord Vocabulary" which is really inexpensive. It's a great addition to Trap's project. I have both.

Colin Goss · Post by **Colin Goss** » 6 Feb 2006 11:29 am

Sonny if you do convert it to Jeff Newman's E9/B6 Universal, please post it here for others to make use of.

Thanks

Shaun Marshall · Post by **Shaun Marshall** » 6 Feb 2006 11:36 am

Thanks Trap, I will use this chart often, nice Sho-Bud you have there !