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Topic: Are we looking at this wrong? |
Edward Meisse
From:
Santa Rosa, California, USA
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Posted 3 Apr 2007 12:20 pm |
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| I really love 6th tunings. But I believe that we may be taking the wrong outlook towards them. I'm finding that thinking of my C6 as a pentatonic scale (more or less) is more usefull than thinking of it as a C6 chord. Some folks have even made the E13 into a full pentatonic scale (Tom Morrell was one, I think). The point is that I'm beginning to believe (realize?) that scalar thinking is more effective than chordal thinking. C pentatonic anyone? |
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Mike Neer
From:
NJ
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Posted 3 Apr 2007 12:29 pm
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I think a chordal approach is much more beneficial to a guitarist for a number of reasons. That doesn't mean you shouldn't know the corresponding chord scale, or mode.
_________________
Links to streaming music, websites, YouTube: Links |
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Roman Sonnleitner
From:
Vienna, Austria
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Posted 3 Apr 2007 1:05 pm
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| That's exactly the way I use my C6 6-string lap-steel - I never think of it as "C6" or "Am7", but simply as "C chord with an extra string in the middle" and "Am chord with an extra string in the middle", and have figured out a couple of major and minor pentatonic "boxes" above and below that straight chord, for soloing - but then, I'm coming from "regular" 6-string rock guitar, and I'm not that fit in musical theory... |
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Craig Prior
From:
National City, California, USA
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Posted 3 Apr 2007 2:32 pm
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"...I'm finding that thinking of my C6 as a pentatonic scale (more or less) is more usefull than thinking of it as a C6 chord. ..."
Dos centavos mas... I know my tuning (A6) well enough to read the lead sheet. For soloing I think chordally (i.e.; here's chord tone 6, here's a chromatic phrase beginning on chord tone 5, here's major 3, here's b3, etc.) |
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Rick Aiello
From:
Berryville, VA USA
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Posted 3 Apr 2007 3:37 pm
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For what it is worth ...
I view the fretboard as a series of intervals (double stops) ... not as whole chords nor single notes nor "home bases" ... in any given key.
I can get any minor third, major third, perfect 4th, perfect 5th, minor sixth, major sixth, etc, etc ... via slanting ...
Up and down the neck ... with the appropriate string combinations.
Only time I think of chords ... is where can I land & strum ...  |
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Gerald Ross
From:
Ann Arbor, Michigan, USA
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Posted 3 Apr 2007 3:46 pm
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I see the C6 neck as three home positions.
Example:
In the key of F. The I chord is the fifth fret. The IV chord is the 10th fret and the V chord is at the 12th.
Parts of each I, IV and V are available at any of those frets. Part of the IV chord are at the I chord position, strings 2 & 3. Move that 2 note chord up two frets and you get the V chord. The minor of any chord is three frets above the major.
All the rest is melody.
Let's not get into slanting in this discussion.
_________________
Gerald Ross
'Northwest Ann Arbor, Michigan's King Of The Hawaiian Steel Guitar'
A UkeTone Recording Artist
CEO, CIO, CFO - UkeTone Records
Gerald's Hawaiian Steel Guitar/Ukulele Website |
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Rick Aiello
From:
Berryville, VA USA
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Posted 3 Apr 2007 3:49 pm
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| Quote: |
| Let's not get into slanting in this discussion. |
Sorry, but that's awful hard for me to do ... within the C6 or C6/A7 tuning ...
In my opinion ... these two are slantin' tunin's ... |
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Gerald Ross
From:
Ann Arbor, Michigan, USA
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Posted 3 Apr 2007 4:02 pm
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Ok, slanting.
1st string 5th fret, 4th string 6th fret = A chord.
Walk it up to the A chord at the 9th fret as follows.
1st string 5th fret, 4th string 6th fret
1st string 7th fret, 4th string 7th fret
1st string 8th fret, 4th string 8th fret
1st string 9th fret, 4th string 9th fret
Use the A chord - 9th fret as a home chord - see my previous email.
This is oversimplification - there are many more slants.
_________________
Gerald Ross
'Northwest Ann Arbor, Michigan's King Of The Hawaiian Steel Guitar'
A UkeTone Recording Artist
CEO, CIO, CFO - UkeTone Records
Gerald's Hawaiian Steel Guitar/Ukulele Website |
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Bill Creller
From:
Saginaw, Michigan, USA (deceased)
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Posted 3 Apr 2007 5:05 pm
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| If I had to remember all that theory and where each chord was by name, I would quit right now. |
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Craig Stenseth
From:
Naperville, Illinois, USA
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Posted 3 Apr 2007 5:24 pm
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| The thick wires sound lower, and stuff. |
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Bill Creller
From:
Saginaw, Michigan, USA (deceased)
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Posted 3 Apr 2007 9:38 pm
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Good one Craig!  |
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Gary C. Dygert
From:
Frankfort, NY, USA
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Posted 4 Apr 2007 9:53 am
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I'm with Craig.
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No-name lap steel and Beard Gold Tone reso in E6 and E7 |
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Todd Weger
From:
Safety Harbor, FLAUSA
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Posted 4 Apr 2007 7:29 pm
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| Gerald Ross wrote: |
| Let's not get into slanting in this discussion. |
Sláinte!
_________________
Todd James Weger --
1956 Fender Stringmaster T-8 (C6, E13, A6); 1960 Fender Stringmaster D-8 (C6, B11/A6); Custom-made 25" aluminum cast "fry pan" with vintage Ricky p'up (C6); 1938 Epiphone Electar (A6); 1953 Oahu Tonemaster; assorted ukuleles; upright bass |
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