moving around the board?

Paul McEvoy · From: Baltimore, USA

Hello all

Trying my hand at doing some arranging in Jules Ah See C13.

Just wondering here with my Danny Boy attempt, I'm ending up with a fairly large jump from fret 5 to fret 12 and back so I can use the C7 chord. Is this something you'd be able to play smoothly with practice? Currently I'm having a bit of a hard time getting it to connect. Doesn't seem impossible but difficult for me.

Everything else seems to work ok.

Bill McCloskey · Posted 17 Dec 2020 9:12 am

Don't you have a C7 on your third fret? Strings 1 3 4 5 are a C7th chord

Fred Treece · From: California, USA

Looks a bit jumpy. For me, moving up to 12 is not a problem, but getting back down to 5 is. My timing and intonation would both suffer.

What Bill said.

Mike Neer · From: NJ

What you can do is think more pianistically, using harmony to your benefit. Instead of playing that first dyad on the 5th fret, find a suitable G-7 or G7 to lead to the C7. Try this:

Andy Volk · From: Boston, MA

Tagging on to what mike said, I might do something like this ...

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Paul McEvoy · From: Baltimore, USA

Bill McCloskey · Posted 17 Dec 2020 7:19 pm

I don't play the tuning but isn't the tuning from the top down E C A G E? on the 3rd fret, the 1st, 3rd, 4th, and 5th strings are G C Bb G Which is a C7th chord.

Fred Treece · From: California, USA

Thereâ€™s no major 3rd, but itâ€™s a perfectly legal C7, however ambiguous. Your melody note is still on top. You could leave out the low G (string 5) in that voicing.

Paul McEvoy · From: Baltimore, USA

Thanks Bill and Fred I guess I missed that memo. Much appreciated.

Bill McCloskey · Posted 18 Dec 2020 6:28 am

Paul,

I find spreadsheeting the neck and chords very helpful to find new places on the neck to play chords. For instance, below is C7 on the eharp tuning. Gives you a nice visual to help you figure out different voicings. Also: you can always play partial chords to give the proper harmony notes to your melody line.

Nic Neufeld · From: Kansas City, Missouri

Lot of good suggestions here...just taking exactly what you originally posted, you've got exactly that C7 voicing just a few frets over, eg:

e-----
c-7---
a-7---
g-----
e-6---
c-----

That's a split bar slant, if you aren't familiar with them, and probably one of the most common and useful ones in this tuning I think. You want to basically nestle the nose of the bar in between the second and third string so everything stays in tune (bullet style nose essential for that). If you want to do a straight slant with no split-bar, you can omit the A string...or if you want to leave the seventh to the backing band, just play strings 2,3 fret 7, too. Lots of options but yeah, I think that jump to fret 12 is going to interfere with the connectedness of the melodic line, so good idea to stay in the neighborhood...
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Andy Volk · From: Boston, MA

To jump or not to jump positions is a personal style decision. In Western Swing, many steelers make big jumps often and at at times, even jump to a different neck to grab a chord needed. In Hawaiian music, as JB said, P'Tah or weaving a thread of connected sounds is more the norm. There are many options for each approach. It depends of the genre, the tempo, the feel and what you like to hear.
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Francisco Castillo · From: Easter Island, Chile

Hi Paul

what tuning are you using?
C13?

you have a flat B somewhere?

Paul McEvoy · From: Baltimore, USA

C13 low to high C Bb C E G A C E ("Jules Ah See")

Thanks Nick. I can do split bar slants passably. I feel like I don't love the way they sound even if I nail them in tune...something always seems off. But maybe much more practice. Anyway, more good suggestions. I need to rewrite this. It's been educational so far. Thanks to everyone.

Definitely though in this situation the jump seems to destroy the phrase.

Paul McEvoy · From: Baltimore, USA

Kind of SOL for sus 4 chords it seems? More than 2 voices?

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