C6 Slant Charts (for new players)

Rick Aiello · From: Berryville, VA USA

I have had several emails asking about the "Slant Charts" I made years ago that I recently mentioned in the C6 Modal Thread.

Here is some backround and a complete "numbers" chart

C6/A7 tunin' ... Key of C ... Fret 0-24



	C#	E	G	A	C	E








	





0)		3	5	6	1	3	


1)	2	4				4	


2)			6	7	2	


3)	3	5		1		5


4)	4		7		3


5)		6	1	2	4	6


6)	5						


7)		7	2	3	5	7


	6	1		4		1


9)			3		6


10)	7	2	4	5		2


11)	1				7


12)		3	5	6	1	3


13)	2	4				4


14)			6	7	2


15)	3	5		1		5


16)	4		7		3


17)		6	1	2	4	6


1	5	


19)		7	2	3	5	7


20)	6	1		4		1


21)			3		6


22)	7	2	4	5		2


23)	1				7


24)		3	5	6	1	3








Bold = Whole Step "Modal Box" ... (F6-G6)

Key of C









C  D  E  F  G  A  B  C 


1  2  3  4  5  6  7  1








I  		C   	1 3 5


IIm		Dm	2 4 6 


IIIm 		Em    	3 5 7 


IV		F	4 6 1


V7		G7	5 7 2 4


VIm		Am	6 1 3 


VIIdim		Bo	7 2 4

Various C Chords



I7		C7		1 3 5 7b


IMaj7		CMaj7		1 3 5 7


Iaug		C+		1 3 5#


Idim		Co		1 3b 5b 6


I9		C9		1 3 5 7b 2


I13		C13		1 3 5 7b 6


Im7             Cm7             1 3b 5 7b

Here are the basic "2 Note" slants ...

These are VERY handy ... and they make up the foundations of the fluid style associated with Hawaiian steel.

Reverse Slants

Strings 2-1






1-3     "Homebase" 6th Chord       


  4


2


  5


3


4-6








5-7


  1


6


  2


7


1-3     "Homebase" 6th Chord

Reverse Slants

Strings 4-1






5 - - 3     "Homebase" 6th Chord


      4


6


      5


7


1 - - 6








2 - - 7


      1


3


4 - - 2








5 - - 3     "Homebase" 6th Chord

Forward Slants

Strings 3-2






6-1     "Homebase" 6th Chord








7-2


1


  3


2-4








3-5


4


  6


5


  7


6-1     "Homebase" 6th Chord

Forward Slants

Strings 5-2



3 - - 1     "Homebase" 6th Chord     


4


      2


5


      3


6 - - 4








7 - - 5


1


      6


2


      7


3 - - 1     "Homebase" 6th Chord

Forward Slants

Strings 5-4






3-5     "Homebase" 6th Chord


4


  6


5


  7


6-1








7-2


1


  3


2-4








3-5     "Homebase" 6th Chord

Forward Slant

String 6-5



--3     "Homebase" 6th Chord


2-4








3-5


4


  6


5


  7


6-1








7-2


1


  3     "Homebase" 6th Chord

Here are some corresponding Chords associated with these "Double stops".



1-3   I , VIm





2-4   V7, IIm, VIIdim





3-5   I, IIIm





4-6   IV, IIm





5-7   V7, IIIm,





6-1   IV, VIm





7-2   V7, VIIdim

There are others of course ... especially when you start makin' fancy chords (6ths, 13ths, etc.) ....

This will give you the foundations of the looking at the fretboard ... "Slant Style"

There are plenty of "3 note" Slants to work on too (reverse, forward, split string)....
but some are quite difficult to play "in tune" ....

In my opinion, it is best to work on maneuvering the bar FAST and ACCURATELY on these "2 note" slants before goin' after those rascals ....

------------------

www.horseshoemagnets.com

[This message was edited by Rick Aiello on 02 June 2003 at 05:28 AM.]

Jesse Pearson · From: San Diego , CA

Rick, cool! Hey, do you think you could add the open strings and frets on the side of your master C6/A7 chart? I found that if you put, tab ,above a chart and, tab , below a chart, it lines everything up just right. Sorry, the tabs need brackets [ ] on both sides for it to work.

[This message was edited by Jesse Pearson on 30 May 2003 at 11:02 AM.]

Harry Williams · From: Duncan, Vancouver Island, BC, Canada

Rick:
Thanks for the info. Gives me an excuse to try this tuning out instead of my regular C6.

------------------

Rick Aiello · From: Berryville, VA USA

I "purdy-ed" it up some.

I like to use Notepad (Windows) when doin' stuff like this ... it keeps the spacing even ... then just cut/paste in conjunction the [tab] function.

I didn't want to include frets on the slant charts themselves ... like those modal boxes ... these are "Sliders" too

Jesse Pearson · From: San Diego , CA

Great, now how about a explanation on how to interpret your slant charts as far as what and how the numbers relate to each other in the context of the master interval chart(C6/A7). Thanks...

Rick Aiello · From: Berryville, VA USA

OK ...

How 'bout a nice "walk" from V7 to I in the Key of C .... using reverse slants on strings 1 and 2.

Here's the corresponding Chart:

-------------------------------------------
Reverse Slants

Strings 2-1






1-3     "Homebase" 6th Chord       


  4


2


  5


3


4-6








5-7


  1


6


  2


7


1-3     "Homebase" 6th Chord

--------------------------------------------

Heres the application:



Fret 7 :   5-7   (G-B)   Straight Bar


 


Fret 8 :     1    


            /    (A-C)   Reverse Slant


Fret 9:    6








Fret 10:     2


            /    (B-D)   Reverse Slant


Fret 11:   7








Fret 12:   1-3   (C-E)   Straight Bar

-----------------------------------------

I have always used the "Number system" ...



Key  C   D    E    F    G    A    Bb   B



1 =  C   D    E    F    G    A    Bb   B


2 =  D   E    F#   G    A    B    C    C#


3 =  E   F#   G#   A    B    C#   D    Eb


4 =  F   G    A    Bb   C    D    Eb   E


5 =  G   A    B    C    D    E    F    F#


6 =  A   B    C#   D    E    F#   G    G#


7 =  B   C#   Eb   E    F#   Ab   A    Bb

[This message was edited by Rick Aiello on 30 May 2003 at 01:47 PM.]

Pat Irvin · From: Kansas City, Missouri, USA

Rick,

This is great. It will take some serious study time for us new guys. I don't have any instruction material on C6 and have been focusing on A6 and E13. Do you have any material on either of these tunings. Or how would the C6 relate to the other tunings, in regards to slants.

Best regards,

Pat

------------------
'97 ZUM SD-10, Peavey Nashville 1000, '54 Fender Custom T-8, Carter Starter

Rick Aiello · From: Berryville, VA USA

If you look at the C6 ... you will see a couple of "Patterns":

Strings 2-1 (Reverse slant)

Here you are starting off with a "Major Third Interval" ... say 1-3 .... and by using a reverse slant combined with a slide up ... you produce a "Minor Third Interval" ... 2-4

Its the "interplay" between the Major Third Interval and the Minor Third Interval that gives Strings 2-1 their "signature" pattern between octaves.

String 3-2 (Forward slant)

Here you are starting off with say ... the 3-5 (the 6-1 open strings) ... a "Minor Third Interval" ... by applying a forward slant while sliding up you are converting it to a "Major Third Interval" ... 4-6.

String 5-2 (Forward Slant)

Here you are starting off with say ... the 3-1 ... a "Minor Sixth Interval" ... by appliying a forward slant while sliding up you are converting it to a "Major Sixth Interval" ... 4-2

The tunings you mentioned are made up of "Minor Thirds", "Major Thirds" and "Major Seconds" just like C6 ... So some of the same patterns will show up .

E13 (Lo to Hi)



D   E   G#  B   C#  E





7b  1   3   5   6   1

String 2-1: Minor Third ... Forward Slant
String 4-3: Minor Third ... Forward Slant
String 4-1: Minor Sixth ... Forward Slant
String 5-4: Major Third ... Reverse Slant

I find reverse slants HARDER to execute on the "Inner Strings" ... Thats why the C6 (E on Top) is the "Primo" slant tuning (in my opinion) ... reverse slants on 2-1 and 4-1.

A6 (lo to Hi)



C#   E    F#    A    C#   E





3    5    6     1    3    5

String 2-1: Minor Third ... Forward Slant
String 3-2: Major Third ... Reverse Slant
String 4-3: Minor Third ... Forward Slant
String 6-3: Minor Sixth ... Forward Slant

As I mentioned with the C6 ... there are LOTS of other slanting opportunities with these tunin's (other 2 and 3 note slants) .... these are just some examples to "get ya goin' " .

Hope this helps ...

-----------------------------------

www.horseshoemagnets.com

[This message was edited by Rick Aiello on 31 May 2003 at 05:53 AM.]

David L. Donald · From: Koh Samui Island, Thailand

Rick ... just wow! There's something in that engineering mindset that works real well for you!

Alan Michael · From: Winston-Salem North Carolina U.S.A.

A little word of encouragement to all you new players. I am a new player as well as I have only been exploring steel guitar for a little over two years. A while back Rick was kind enough to share his slant charts with me and I have used them for the C6 tuning on my 6 string lap, my eight string non-pedal, and a revised version to work on the standard G tuning for the dobro. These charts opened major doors for me and continue to help me to understand theory as it relates to the steel guitar fretboard. There is a wealth of information here if you just apply it. Thanks again Rick, I owe you big time.

[This message was edited by Alan Michael on 31 May 2003 at 01:35 PM.]

Rick Aiello · From: Berryville, VA USA

Alan, I heard some scientists blaming the rise in sea level on "Global Warming" ....

I know its really you and Sol H. up there meltin' that polar ice ...

Alan Michael · From: Winston-Salem North Carolina U.S.A.

Rick, I'm not that hot yet but if you're ever inclined to travel north and take part in some melting action I'd be happy to be your host.

Jesse Pearson · From: San Diego , CA

Rick, nice job! I understand the slant charts and have converted the numbers to note names with the name of the interval between the 2 slant notes, writen out on the side. I was hoping you could go into the theory of what slant notes to look for, to play over a certain chord, that they would line up with. I would really be interested on what slants work best over a standard Hawaiian progression. Thanks...

Rick Aiello · From: Berryville, VA USA

Alan ... Ever since "Northern Exposure" my wife has ALWAYS wanted to go to Alaska (I think it was filmed in Washington state though) ... In fact, when she was choosing her Residency Program ... she was inches away from haulin' me up there. One day we will be headin' north and I'll take you up on that kind offer

Jesse ... I'm not exactly sure what you are asking ... so I'll give you my "reasonings" behind viewing the fretboard as a "Slant-Board" and hopefully answer your questions.

I see everything in terms of intervals (probably because I only have use of my right thumb and right index finger and can only grag 2 strings at a time or strum & pick across adjacent strings for 3 or more notes).

When I see a C7 (I7) chord movin' toward an F chord (IV) in the Key of C .... I think:

C7
1-3 (C-E),
3-5 (E-G),
5-7b (G-Bb),
7b-3 {Bb-E)
5---3 (G---E),
3---1 (E---C), etc.

movin' toward ...

F
4-6 (F-A),
6-1 (A-C),
6---4 (A---F), etc.

To improvise ... I try to stay on the same pair of strings ... movin' from one of these intervals to another ... slippin' and slidin' .... movin' and pausin' .... and finally landin' on the right spot (hopefully)

To harmonize a melody ... I keep the melody on strings 1 and 2 ... and then choose the appropriate harmony notes that allow me to stay on the same two strings as much as possible (Thanks JB).

I see slanting as just a way to keep on the same two strings ... allowing me to maneuver from place to place without havin' to STOP the "flow".

As a side note ... I was very interested in Mike Neer's comments about triads in the modal thread and the building of "fancier" chords by superimposing different triads. I figure since triads are just superimposed intervals ... this interval approach must be "Sound" (pun intended) ...

Anyway ... y'all get those reverse slants "up to speed" so you can take full advantage of this powerful tuning ... and remember to "PLAY Tribute" to the architect of this "C6/A7 Slanting Machine" ...

Jerry Byrd.

[This message was edited by Rick Aiello on 01 June 2003 at 10:42 AM.]

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