| Author |
Topic: Maj - Maj6 - Maj7 moves |
Pete Nicholls
From:
Macon, Georgia, USA
|
Posted 11 Aug 2012 4:42 am |
|
What are the different ways of moving from the Major to the Major 6 then to the Major 7? Sure would open up a bunch of new songs for me if I could do this properly!
Thanks in advance for all replies.
_________________
Justice The Judge SD-10, 2007
Justice Pro Lite SD-10, 2011
Quilter Steelaire
Quilter Labs Tone Block 202 Head
Roland Cube 80-XL
American Stratocaster - Yamaha Bass Guitar
1 Fender Telecaster Nashville Edition
Ham Call: N4BHB |
|
|
 |
Lane Gray
From:
Topeka, KS
|
Posted 11 Aug 2012 5:30 am
|
|
Listen to some of Tom Morell's stuff before he went back to lap steel.
He lay down some of the best arguments for keeping pedal 4 on the C6th neck, which pulls 6 to maj7.
On the E9th neck, it is a little harder to do because there are no simple moves to make that transition, unless you raise 1 to G# with a knee ( I do it with pedal 0, so I cannot hit A and B and that change)
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
|
|
|
Larry Bressington
From:
Nebraska
|
Posted 11 Aug 2012 6:51 am
|
|
E9---From the pedaled position of the tonic chord, Slide down 2 fret's and lower the E's for the 6th. Example key of E; slide from fret 7 with pedals down, to fret 5 and lower the E's releasing the pedals....When you need the 7th, keep the 6th as is and add pedal B
At the 12th fret E shape, Add pedal A for the 6th, and for a 7th/9th you can slide down 2 frets with pedal A [Bm superimpossed over E] giving you E9.
_________________
A.K.A Chappy. |
|
|
|
Lane Gray
From:
Topeka, KS
|
Posted 11 Aug 2012 8:01 am
|
|
Larry, where's the D#? the OP asked about Maj7 from 6.
If you lower 2 a whole step, you could get it that way.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
|
|
|
CrowBear Schmitt
From:
Ariege, - PairO'knees, - France
|
Posted 11 Aug 2012 8:48 am
|
|
on E9 or C6 Pete ?
E9 : Cmaj7 is found on fret 10 using string 9 as the root strings : 9 7 6B 5A 4
C6 : Cmaj7 is found on fret 7 using string 9 as the root strings : 9 7 6 5 4 3 2 ( no pedals/no levers |
|
|
|
Stuart Legg
|
Posted 11 Aug 2012 4:51 pm
|
|
This is the Coolist on E9 forward or backward
Last edited by Stuart Legg on 11 Aug 2012 4:54 pm; edited 1 time in total |
|
|
|
Mickey Adams
From:
Bandera Texas
|
Posted 11 Aug 2012 4:53 pm
|
|
Hey Pete...try this...For Gmaj7.....Play basically a D major at 5 with A+B...Use string 9 as the root...Rake the chord all the way to 1, and see what ya hear...
_________________
ARTIST RELATIONS: MSA GUITARS
2017 MSA LEGEND XL D10, S10, Studio Pro S12 EXE9
Mullen G2, Rittenberry S10, Infinity D10, Zumsteel 8+9
Anderson, Buscarino, Fender, Roman Guitars, Sarno Octal, Revelation Preamps, BJS BARS, Lots of Blackface Fenders! |
|
|
|
Pete Nicholls
From:
Macon, Georgia, USA
|
Posted 11 Aug 2012 5:13 pm
|
|
Thanks guys, I am asking in reference to E9 tuning. Will try all of the suggestions and see what I get!
_________________
Justice The Judge SD-10, 2007
Justice Pro Lite SD-10, 2011
Quilter Steelaire
Quilter Labs Tone Block 202 Head
Roland Cube 80-XL
American Stratocaster - Yamaha Bass Guitar
1 Fender Telecaster Nashville Edition
Ham Call: N4BHB |
|
|
|
Marc Friedland
From:
Fort Collins, CO
|
Posted 11 Aug 2012 8:28 pm
|
|
Pete –
If I understand your terminology correctly - here is one way I go from Major to Major 6 to Major 7
To keep things simple I’ll use the Open position, not using the bar at all – obviously you can use the bar up & down the neck depending on what key you want to play in.
Keep the “B” pedal (the pedal the raises your G#’s to A) engaged the entire time
Key of “D”
Major:
String 9 D
String 7 F#
String 6 A
Major 6
String 9 D
String 7 F#
String 6 A
String 5 B
Major 7
String 9 D
String 7 F#
String 6 A
String 5 C# (with the “A” pedal engaged, the pedal that raises your B’s to C#)
Let me know if you have any questions…
Good luck!
Marc
www.PedalSteelGuitarMusic.com |
|
|
|
Stuart Legg
|
Posted 12 Aug 2012 11:47 am
|
|
The Jazz grip strings 5 7 9. up and down A pedal. It's a Maj7 or Maj6, minor or minor9, Dom9 or Dom13 just just for starters but it can be about any chord you want it to be. Here are 2 examples one ending and an arpeggio turn lick.
 |
|
|
|
Alex Cattaneo
From:
Quebec, Canada
|
Posted 12 Aug 2012 9:30 pm
|
|
This is good stuff guys! The chord described by CrowBear is actually a glorious CMaj9, C-E-G-B-D. As you can see, it contains 2 major triad, C-E-G and G-B-D. So that Cmaj9 sound is sort of a G major triad played on top of a C bass. That's why you can use both suggestions from Stuart, strings 9-7-5 at fret 10 (C-E-A for C6) and fret 5 (G-B-E for CMaj7).
As for Mickey's suggestion... unless I'm missing something that's a Gmaj9(b9)... now that's a special sound!
The next extension to try is the #11... try playing a D major triad on top of a C bass, like fret 10, string 9-7-6-5-4. That's C-E-F#-A-D for a full C6(#11). Even better, add the A pedal and you'll get a Cmaj9(#11). Lots of cool sound in that area, with the A and B pedal, you've got the 5th, the 6th, the 7th and the #11!
The major #11 sound is often heard at the end of jazz tunes, as it gives that bitter sweet color that jazz cats are so fond of, like "ok, we'll resolve to the I, but it can still be weird" type of thing. |
|
|
|
Franklin
|
Posted 13 Aug 2012 5:09 am
|
|
| Lane Gray wrote: |
Listen to some of Tom Morell's stuff before he went back to lap steel.
He lay down some of the best arguments for keeping pedal 4 on the C6th neck, which pulls 6 to maj7.
|
Just curious....Pedal 4 works both necks....With modern all pull guitars why choose one neck over the other on pedal four?.....Its easy to access both necks since the cross shafts go all the way across the bottom of the cabinet.
Pete,
A 5 major triad over a one chord is a major ninth which is an extension of the major seventh chord. Play a 1 chord open and press A pedal down for the sixth chord and then resolve to a three or two note 5 chord position for the major seventh. With a band it sounds better than playing full voiced chords.
Another simple internal move keeping the same top note......Play holding A & B pedals down strings 5 and 6 for the major than same pedals down play strings 5 and 7 for the 6th chord and finally with A pedal only play strings 5 and 6 for the major 7th......That simple move adds a little counterpoint....Remember there is no written rule that says you have to ascend those changes.
Paul |
|
|
|
Lane Gray
From:
Topeka, KS
|
Posted 13 Aug 2012 7:47 am
|
|
Paul, by "keeping P4 on the C6th neck," I meant retaining the 4th and 8th string whole tone raises, A to B. Many folks have done away with that change, generally not seeing much use for it.
I don't know whether they ditch it to keep pedal effort light on the front neck (not every guitar is as effortless as your dad's), or just because they didn't see a use.
Tommy used it to great effect back when he still played pedal guitars.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
|
|
|
Pete Nicholls
From:
Macon, Georgia, USA
|
Posted 13 Aug 2012 4:31 pm Thanks for all the help ...
|
|
Thanks again for all the help ... it got me going and I'm able to play "It's Four In The Morning" now. I would post a track to show my progress, but not quite ready for that yet as I need to smooth out the rather fast changes. I do have a few tracks at http://soundcloud.com/petenicholls/sets/pedal-steel to track my progress. I've been playing PSG for 12 weeks now and having a ball! Thanks so much to my friend Bernie for loaning me a steel to get started. I'll be returning it next week and am off to the races with my new Pedal Master.
_________________
Justice The Judge SD-10, 2007
Justice Pro Lite SD-10, 2011
Quilter Steelaire
Quilter Labs Tone Block 202 Head
Roland Cube 80-XL
American Stratocaster - Yamaha Bass Guitar
1 Fender Telecaster Nashville Edition
Ham Call: N4BHB |
|
|
|
Riley Hart
From:
South Carolina, USA
|
Posted 18 Aug 2012 8:56 am
|
|
| Stuart. Great stuff! Thanks to ur charts I am well on the way to having the Ipanema bridge and 'Where or When' close to done! Opened up a major door, only wish I knew the theory part better... |
|
|
|
