The Steel Guitar Forum

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 <FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by TRAP TRULY on 11 August 2002 at 04:12 PM.]</p></FONT>

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

thanks,
David

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MSA Doubleneck Super Sustain II Classic
National Lap Steel
Dobro
click here to check out my country tunes
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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?
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by CrowBear Schmitt on 11 August 2002 at 05:57 AM.]</p></FONT>

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

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.


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www.samminnitti.com
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Sam Minnitti on 12 August 2002 at 07:15 AM.]</p></FONT>

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

the dim. should read every 3 frets. Also the first dom.7b9 chord should read -2.
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by TRAP TRULY on 29 January 2003 at 09:24 PM.]</p></FONT><FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by TRAP TRULY on 24 April 2004 at 11:13 PM.]</p></FONT>

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

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

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

a half diminished has:
minor third
dim. fifth
minor seventh
Steel What?<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by CrowBear Schmitt on 15 August 2002 at 12:11 AM.]</p></FONT>

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.<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Jeff Lampert on 15 August 2002 at 02:22 PM.]</p></FONT>

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

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

<SMALL>Over a Bb bass note I played it against a Bb7 Bb9th and Bb13 etc etc</SMALL>

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. <FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Jeff Lampert on 15 August 2002 at 02:23 PM.]</p></FONT>

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

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.

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

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

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."<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Dave Birkett on 15 August 2002 at 11:38 PM.]</p></FONT>

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

TTT This is a great C6th chord chart.

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

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

Trap,

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

Best personal regards,

bUd

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

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.

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

Thanks

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