C6 for Dummies (guitarists)

Mike Neer · From: NJ

Please don't be offended with my title, but this is something I've thought about doing for a while now to encourage guitarists to stick with the steel and not give up so easily. So here it is: another long-winded thread from me.

It is very ironic that I am writing this essay given the fact that I did everything possible to avoid ever playing the C6 tuning. In fact, I'm sure I rallied enthusiastically against it in the past. The reason: because it didn't make a drop of sense to me, especially after 30+ years of playing the guitar. Oh yes, I had managed to delve into a few open tunings while playing slide guitar, but for the most part, I was a standard tuning man through and through.

I had a lap steel kicking around in my studio for many years before I knew of any tried and true tunings. The first tuning that ever made any sense to me was open E. It just so happened that a few of the Hawaiian steel players I loved played in either open E or C#m7 (same tuning with a raised 2nd string to C#). I bought a tricone and joined a band called the Moonlighters and tried to learn how to play steel guitar on the bandstand (which I did, to mixed reviews). Fast forward a few years later and my steel guitar approach has changed dramatically and I've returned to familiar musical waters from my guitar-driven past and have even evolved from a knuckle dragging guitarist. Laughing

Ooh, I made myself laugh!

It became evident to me that I was going to need to learn the C6 tuning. I finally resolved to learn it first by transcribing some steel guitar music (Steelin' The Blues, Slippery Elm, B. Bowman Hop to name a few) and looking closely at the moves and the way things laid out. One of the first things I examined was the intervalic relationship of the strings, which struck me as its greatest and most challenging feature. C6 afforded intervals of Major 3rd, minor 3rd and Major 2nd on adjacent strings. If I skipped a string I had access to Perfect 4ths and 5ths. The E tuning that I was so familiar with had P4, m3, M3, P4, P5, in order from top to bottom. There were some similarities there. Let me demonstrate:

C6
strings..............interval
1--->2.................M3
2--->3.................m3
3--->4.................M2
4--->5.................m3
5--->6.................M3

E
strings..............interval
1--->2.................P4
2--->3.................m3
3--->4.................M3
4--->5.................P4
5--->6.................P5

As you can see, the E tuning contains a few intervals not present in the adjacent strings of C6; however, if we look at the results of skipping a string between each, we get:

C6
1--->3.................P5
2--->4.................P4
3--->5.................P4
4--->6.................P4

It's evident that all of the intervals present in the E tuning are there in C6. In fact, if we look a little closer at the 2 tunings, the orientation of C6 has its root on string 2 while E has its root on string 1. If we find E on string 2 of C6 (fret 4) and work our way across the strings, we'll see C#, B, G# and E. Keeping in mind the notes of the E tuning from strings 1-4, you'll find a commonality with strings 2, 4, 5 and 6 at fret 4 of C6. Anything that can be played on strings 1-4 of E can be played on strings 2, 4, 5 and 6 of C6, with very few exceptions.

As with any other tuning, one needs to find zones that contain inversions of our chords, much the same
as the CAGED system that some guitarists use. This is how we are able to ween ourselves from playing
in root position all the time and take steps toward having freedom all over the fretboard. I started a
thread called Harmony and Chord Theory for Steel Guitar that contains some information as to looking
at chords as related triads. For example, C Major can also be seen as Em and even Bm (how? I knew
you'd ask). Bm triad (notes B D F#) gives us very consonant upper extensions of C--the 7th, 9th and
#11th. Replacing the F# with G on strings 1 and 5 of the Bm or D position gives us a G chord (essentially a CMaj9). So, in essence, we can look to the root positions of these triads and use them as positions for C, as well (Em or G, 7th fret, Bm or D, 2nd fret). We experiment with these zones to find comfortable and recognizable patterns and, more importantly, interesting sounds.

Let's try an interesting experiment: the intervalic relationship between strings 1 and 3 is a Perfect 5th. Any time our bar is placed in a straight line across these strings, the Perfect 5th interval exists. If we forward slant, we have an Augmented 5th; reverse slant yields a Diminished 5th. Starting with open strings, let's play the C Major scale in 5ths:

string3............string1...........chord
Open (A).........Open (E)........Am
fret 2 (B).........fret 1 (F) ........Bdim
fret 3 (C).........fret 3 (G)........C
fret 5 (D).........fret 5 (A).........Dmin
fret 7 (E)..........fret 7 (B)........Emin
fret 8 (F)..........fret 8 (C)........F
fret 10 (G).......fret 10 (D)......G

As you can see, in only 1 instance did we have to deviate from a straight bar: that is at the 7th degree of our scale, or the diminished chord. Simple, but the nonetheless interesting. If we were to fill in the missing notes of our triads on string 2, we'd be looking at root position triads (root, 3, 5).

0 0 0 = Am
2 2 1 = Bdim
3 4 3 = C
5 5 5 = Dmin
7 7 7 = Emin
8 9 8 = F
10 11 10 = G
12 12 12 = Am

You can see the shapes emerging here.

Now what if we take string 3 out of the equation and instead bring in string 4. Our intervalic relationship between string 4 and string 1 is a Major 6th. The relationship between string 4 and string 2 is a Perfect 4th. This is also known as a second inversion (5, root, 3), or as it's written in figured bass x6/4 (x being the chord name, 6 and 4 denoting the aforementioned intervals). Let's take a look:

0 x 0 0 = C
2 x 2 1 = Dmin
4 x 4 3 = Emin
5 x 5 5 = F
7 x 7 7 = G
9 x 9 8 = Amin
10 x 11 10 = Bdim
12 x 12 12 = C

Looking back at our root position triads and comparing them with this set, you'll sse the respective relative major or minor to each chord, and in the case of Bdim (vii dim) and G (V), you can see another interesting relationship which becomes more apparent when the chords are extended to 7th chords.

There is still much good stuff to come that will not only attempt to clarify C6 a little and put it into a context you can relate to guitar-wise, but really inspire you to try to learn to use C6 for any style of playing. Many have remarked that it sounds too Hawaiian, etc, but it really isn't the case. Learning the notes on the neck of C6 is really only half the battle--the other half is getting good right hand technique so you can avoid just thinking of C6 as a strum tuning.

Good night!
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Mike Neer · From: NJ

The real beauty of the C6 tuning exists between strings 3 and 4, which are tuned a Major 2nd apart. I recommend spending a good amount of time just exploiting these two strings and getting everything you can from them. Like I said, this is where the gold is.

Let's take a look at something simple, yet not obvious:

The G Major scale:

Stephen Abruzzo · From: Philly, PA

WOW!! What a great post. Thanks Mike for taking the TIME and EFFORT to put this out there. I may have to actually step into the water and try C6. I can actually see how one can be in C6 but still hit the bluesy type stuff.

I have a technical question for you re your missive. When you are playing P4s and skipping a string in between....do you leave a finger on the in between string to mute it while you pick the strings on either side of it?????

Mike Neer · From: NJ

To answer your question Stephen, no, I don't do any kind of muting like that--it is strictly pick blocking.
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Stephen Abruzzo · From: Philly, PA

Oh, ok.......so then, theoretically speaking, there could be a smidge of "harmonic noise" coming from the unpicked/unmuted in-between string then, right? Just by virtue of the bar sliding on that string.

This isn't a criticism, I'm just trying to understand what's going on.

Mike Neer · From: NJ

Mike Neer · From: NJ

Another aspect of the C6 tuning that will ring a bell for guitarists is the E 1st string and G 4th string, just like strings 1 and 3 in standard tuning. So, you know how we play 6ths harmonies on guitar on those 2 strings? The same can be done in C6--it's going to take a little practice with reverse slants, which are not really all that difficult. Here's an example in the key of G:

Paul Smith · From: Ma

Hello Mike,

your timing is perfect! Ive been playing in Emaj both non pedal and E9th pedal steel for some time, and am just now taking the plunge into C6th... I actually have a new (old) 1950s fender deluxe 6 string waiting for me at the post office(I missed them yesterday, now have to wait until Monday... ggrrr) to play C6th on. Thanks so much for your great theory posts to unlock the doorway... I have been searching all over for C6 material that made sense coming from an Emaj player... keep em coming man!

btw: do you give private lessons?

thanks,

smitty

Laurence Pangaro · From: Brooklyn, NY

Hey there Mike,

It sounds to me like the selling points you're describing for C6 tuning are common to a number of close harmony tunings utilized by steel players. Does that sound right? If so, what is particularly alluring about this tuning?

I have to admit I'm enticed by having all the strings tuned to "white" notes.

ciao,
Laurence

Andy Volk · From: Boston, MA

Single note and double stop scales and arpeggios lay out really well in C6th. As Mike said, you can play most any kind of music on it. It's not as good for Celtic, bluegrass and other modal-type music as the 6th note gets in the way but for Hawaiian, swing, country, jazz, Bossa, uptown blues, and melodic rock,etc. it's a very powerful tuning.

Mike Neer · From: NJ

Garry Vanderlinde · From: CA

Thanks for trying to help the “Guit-tarded”.
Razz

Mark Roeder · From: Milwaukee, Wisconsin, USA

I have been avoiding C6 for along time. E6 was easier because of the guitar references, so that's what I went with, and I was into the Don Helms stuff. I was getting tired of playing everything so high so I made the switch to A6 about 4 weeks ago and now see what makes C6 appealing. E6 is to high and A6 is to low, so C6 must be just right. So I guess I must relearn everything in C6 now. Or get a double neck Clinesmith with C6 and A6.
I do find the 5 as the high string helpful for more options on where I can play something on the neck.
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J. Wilson · From: Manitoba, Canada

Thanks Mike! Looks like I have to get another lap steel and string it for C6!
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Mike Neer · From: NJ

Mark, I know I'm not alone in the difficulties I encountered when I tried C6. I thought about it a lot and I realized that at some point I would have to separate my guitar playing perspective from my steel playing if I ever wanted to really get inside the instrument. That is essentially what I did: I abandoned everything I knew and started over. It wasn't very painful; in fact, it only took a few months.

You described going from E6 to A6, and that is exactly what I did and the pattern I've observed others doing. It is difficult to throw yourself out there playing a foreign tuning, especially if you're gigging, but sometimes one learns better under pressure--I know I do.

I feel comfortable now on C6 to the point where I have freedom to play without relying heavily on positions and it hasn't taken that long, but I do practice quite a bit. Now I can re-incorporate all of my guitaristic thinking back into my playing, which was my long-term goal to begin with. I'm able to play the music I played before, which was more in the Rock and Jazz vein, but with a new, fresh perspective. The limitations of the steel guitar have forced me to become a more articulate and succinct improviser. Of course, it's always a work in progress.
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Mark Roeder · From: Milwaukee, Wisconsin, USA

What a strange phenomena! E to A to C, there must be a real strong force to get past regarding guitar based thinking.
Do you know what the appeal of the A6 is to alot of the western swing players? Seems like they like it as well as C6.
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Mike Neer · From: NJ

I think a lot of the 8 string console players like to have an A6 neck--Speedy West used A6, Herb Remington still uses it. In fact, one of the best A6 players was Billy Hew Len--I love what he did and I learned a lot from the Hal Smith Archive recording of lessons with Billy (and he killed on a 6 string Fry Pan tuned to A6). It's a fat tuning, still has the E on top, but of course, it's the 5th. That forward slant on strings 1, 2 and 3 is very easy and so is the reverse slant to get the diminished triad. But on the downside, the bass strings are a little too dark and the whole step between strings 4 and 5 is on wound strings and doesn't sound as good played up the neck as in C6, in my opinion.

As far as a 6 string tuning, though, C6 is the shiznit--even better, C6/A7.

Guitar pickers, feel free to chime in with your stories/comments/questions.
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Jon Nygren · From: Wisconsin, USA

Right on Mike.

I'm a recent convert...used to LOVE a6- still do actually, but i've switched to c6 paired with e9 or e13 on a doubleneck for the time being. I like the slightly higher range, and it just sounds a bit 'clearer' to me for lack of a better term. And the range is just right. Love the 3rd on top.

It's funny, I came from standard, 4ths tuned guitar like a lot of folks...but I learned on c6 6 string. Once I got the hang of it, I moved onto other tunings when I got into 8 strings. Looks like i've come back full circle.

Now get on with that triad pair post you were thinking of doing. Very Happy

Mike Neer · From: NJ

David Eastwood · From: Minnesota, USA

Thanks, Mike!

As a guitarist for 40 years, grappling with C6 on a lap steel for the last 5 months has been challenging, to say the least. Postings like yours here are really helping enormously to peel back the layers and make sense of it.

The interesting thing (to me, at least) is that I'm taking what I'm learning here back to my regular guitar playing - in a band context, it's cool to be able to imply a chord with two well-chosen notes, rather than taking up someone else's space.

For example, I'm beginning, after all this time, to understand (rather than just enjoy) the genius of Weir and Garcia.

My apologies for the non-steel reference Smile

Gary Stevenson · From: Northern New York,USA

Great stuff Mike.Does anybody know a way to download a post to your puter. I need to glaze LOL at this for a while to see if I can get it in my head.

Dom Franco · From: Beaverton, OR, 97007

I prefer A6 for several reasons:
If you play E9 Pedal steel it is just like playing with your A+B pedals down. It is very natural.

I don't see how A6th is lower? When the 1st string is the same note (E) and the 6th string (C#) is 1 fret higher than a C.

I can play anything on A6 that can be played on C6... except that low C note...

I play a lot of songs in the key of C, so in C6th tuning having to play open strings (no Vibrato)or way up on the 12th fret, just doesn't work for me.

Of course if you play and sing in the key of A you would then have the same problem with A6th.

I know C6th is the most popular, for good reasons, but A6 works better for me.

Dom Franco Very Happy

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Mike Neer · From: NJ

Mark Roeder · From: Milwaukee, Wisconsin, USA

Gary
I have copied all of Mikes stuff onto a word document. All you do is open up a word page, highlite the parts of the post you want, hit copy, then on your word page hit paste. I have made an on going document that I keep adding to when I read something I want to keep
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Fred Kinbom · From: Berlin, Germany, via Stockholm, Sweden.

Thanks a lot for this Mike! It has encouraged me to give C6 another go (I did try when I first started out on lap steel but it did not make much sense to me at the time).

Cheers,

Fred
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