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Topic: C6/f9 ??? |
Tim Whitlock
From:
Colorado, USA
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Posted 14 Nov 2019 8:47 pm |
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So I was messing around and somehow hit on the following tuning. It's C6 (G on top) but I had accidentally flattened the lower E to D#:
G
E
C
A
G
D#
C
A
I'm not good with theory but doesn't this give you a C6 chord on the top 5 strings and a rootless F9 on the bottom 5?
I found it pretty cool to have the IV7 or IV9 chord right there on the home fret. Does anyone else use this or is it even a viable tuning? After playing around with it for a couple of hours it seems to have some potential.
Last edited by Tim Whitlock on 15 Nov 2019 9:07 am; edited 1 time in total |
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b0b
From:
Cloverdale, CA, USA
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Posted 14 Nov 2019 9:32 pm
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Actually, you flatted the middle E to Eb. And yes, that is a rootless F9 chord. Theory-wise the note is called Eb (not D#) because the F scale already has a natural D in it.
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Denny Turner
From:
Oahu, Hawaii USA
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Posted 15 Nov 2019 6:10 am
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| Quote: |
| doesn't this give you a C6 chord on the top 5 strings and a rootless F9 on the bottom 5? |
Without your mistake, the common C6 tuning gives you rootless FMaj9 chord; (In music theory a 7, 9, 11 and 13 chord assumes the 7th note is flatted, so 'Maj' is used to show when the 7th note is a natural 7 not a b7). And if you're playing C6 / FMaj9 CHORD at the 12th fret, then the remaining extension notes of FMaj7 scale are 2 frets down at the 10th fret!:
(6 string tuning notes are in larger typing below. Typical 8 string tuning notes are added in small typing):
FMaj7 scale in C6 tuning at the 10+12 frets:
F(1)..................G(2)
D(6)........E(7)
Bb(4)......C(5)
G(2)........A(3)
F(1)........G(2)
D(6)........E(7)
Bb(4)......C(5)
G(2).................A(3)
C7 scale in C6 tuning at the 10+12 frets:
F(4)..................G(5)
D(2)........E(3)
Bb(b7)....C(1)
G(5)........A(6)
F(4)........G(5)
D(2)........E(3)
Bb(b7)....C(1)
G(5).................A(6)
CMaj7 scale in C6 tuning at the 5+7 frets:
C(1).................D(2)
A(6)........B(7)
F(4)........G(5)
D(2)........E(3)
C(1)........D(2)
A(6)........B(7)
F(4)........G(5)
D(2).................E(3)
G7 scale in C6 tuning at the 5+7 frets:
C(4)..................D(5)
A(2)........B(3)
F(b7)......G(1)
D(5)........E(6)
C(4)........D(5)
A(2)........B(3)
F(b7)......G(1)
D(5).................E(6)
Such 2 fret span scales, and their chords, are often called boxes. Not to be confused with fragmented spots on the fretboard where a few or some but not all notes are aligned under 1 fret. Those fragmented spots are often called pockets or grips.
C6 tuning provides such 2-fret boxes all over the fretboard, laid out very intuitively, for the 7 harmonic qualities (versions of Maj and min scales and chords that are always harmonic) most common in western music (west of Jerusalem and east of Hong Kong ...loosely speaking). It is relatively easy to learn, for even a person that doesn't know a lot of music theory; Tip toe lightly and slowly for awhile and it will start falling into place. I say this because you seeing a rootless F9 shows an understanding of the basic math armature of music theory:
http://steelguitarforum.com/Forum2/HTML/003549.html
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Last edited by Denny Turner on 3 Feb 2020 8:20 am; edited 3 times in total |
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Tim Whitlock
From:
Colorado, USA
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Posted 15 Nov 2019 9:13 am
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| b0b wrote: |
| Actually, you flatted the middle E to Eb. And yes, that is a rootless F9 chord. Theory-wise the note is called Eb (not D#) because the F scale already has a natural D in it. |
Oops you're right Bob. I got a new guitar tuned to C6 with a high G - I always use an E on top. I meant to tune the lower C down to B but accidentally grabbed the E tuner. Original post corrected. |
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Tim Whitlock
From:
Colorado, USA
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Posted 15 Nov 2019 9:25 am
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| Denny Turner wrote: |
Without your mistake, the common C6 tuning gives gives you rootless FMaj9 chord; (In music theory a 7, 9, 11 and 13 chord assumes the 7th note is flatted, so 'Maj' is used to show when the 7th note is a natural 7 not a b7). And if you're playing C6 / FMaj9 at the 12th fret, then the remaining extension notes of FMaj7 scale are 2 frets down at the 10th fret!:
F(1)........G(2)
D(6)........E(7)
Bb(4)......C(5)
G(2)........A(3)
F(1)........G(2)
D(6)........E(7)
Bb(4)......C(5)
G(2)........A(3)
C7 in C6 tuning at the 10+12 frets:
F(4)........G(5)
D(2)........E(3)
Bb(b7).....C(1)
G(5)........A(6)
F(4)........G(5)
D(2)........E(3)
Bb(b7).....C(1)
G(5)........A(6)
Such 2 fret span scales, and their chords, are often called boxes. Not to be confused with fragmented spots on the fretboard where a few or some but not all notes are aligned. The fragmented spots are often called pockets or grips.
C6 tuning provides such 2-fret boxes all over the fretboard for the 7 harmonic qualities (versions of Maj and min scales and chords that are always harmonic) most common in western music (west of Jerusalem and east of Hong Kong ...loosely speaking). It is relatively easy to learn, for even a person that doesn't know a lot of music theory; Tip toe lightly and slowly for awhile and it will start falling into place. I say this because you seeing a rootless F9 shows an understanding of the beginning armature of music theory:
http://steelguitarforum.com/Forum2/HTML/003549.html |
Wow there's a lot to unpack there Denny! Except for clarinet and oboe in school, I have been primarily an ear player with just a smattering of theory. Based on your comments I have found some websites to help me get rolling but man I can see there is a huge mountain of theory to assimilate. I'm sorry I waited so long in life to get started! |
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