Basic C-6th Scale Patterns: Lesson #17

robert kramer · From: Nashville TN

In Lessons #15 and #16 we added half step chromatic intervals to our CM7 Scale Pattern - one fret at a time - at the 5-7-8 frets. This week we will add the chromatic intervals located at the 8-9-10 frets of our CM7 Scale Pattern. All examples are in the key of C.

The first diagram shows the notes of our CM7 Scale pattern with a G to G# half step chromatic - 8 to 9 Fret, a G# to A half step chromatic interval – 9 to 10 fret and a F# to G half step chromatic interval – 9 to 10 fret.
The second diagram is an exercise using the G to G# half step chromatic interval – 8 to 9 fret - (5th to b6).
**Each exercise is divided into easy to learn groups (a) – (b) – (c). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

(C-6th w/ knee lever lowering 3rd string C to B)

Here are two exercises using the half step chromatic interval of G# to A located at the 9 to10 Fret of our CM7 Scale Pattern.

The first diagram is an exercise using the G# to A half step chromatic interval - 9 to 10 Fret - (b6 to 6).
The second diagram is an exercise also using the G# to A half step chromatic interval - 9 to 10 Fret - (b6 to 6).
**Each exercise is divided into easy to learn groups (a) – (b) – (c). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

(C-6th w/ knee lever lowering 3rd string C to B)

Here are two exercises using the half step chromatic intervals F# to G located at the 9 to 10 fret of our CM7 Scale Pattern

The first diagram is an exercise using the F# to G half step chromatic interval - 9 to 10 Fret - (#4 to 5).
The second diagram is another exercise using the F# to G half step chromatic interval - 9 to 10 Fret - (#4 to 5).
**Each exercise is divided into easy to learn groups (a) – (b) – (c). For the timing of each group, the symbol > under a note indicates the first note in each group to be accented**

(C-6th w/ knee lever lowering 3rd string C to B)

Tip of the Week: In the 3rd diagram we find ourselves playing a 3 note descending chromatic run on one string! (3rd string = 10 > 9 > 8 Fret = A > G# > G). By dividing this exercise into easy to learn groups (a) - (b) we have fooled ourselves into playing a 3 note descending chromatic run on the same string. This is also true of the 5th diagram where we find ourselves playing a 3 note descending chromatic run (4th string = 10 > 9 > 8 Fret = G > F# > F). This phrase could be technically difficult if we thought about it just as a 3 note chromatic run on one string. By thinking of the phrase as two separate (a) - (b) groups (and two separate thought processes) and then shedding each group separately until they’re down – when we combine the two groups into one uninterrupted phrase– we trick ourselves into playing chromatics.

Also notice we have added a b6 tone = G # (Ab) to a C Major 7th Scale. Adding a b6 as a chromatic passing tone to a Major Scale creates the sound of a Bebop Major Scale = C-D-E-F-G-G#(Ab)-A-B-C. This is jumping ahead - but we will be working with Bebop Dominant, Dorian, Melodic Minor and Major Scales - further on up the road.

Paul Sutherland · From: Placerville, California

Robert:

I have been working on your scales/exercises, and I am finding that some of them are really difficult. The right hand fingering presents many challenges. I mainly try to use the thumb and middle finger (alternating), but sometimes it just doesn't seem to work out. Do you have any suggestions?

I think these lessons are helping my playing tremendously, and not just on C6th. Thank you. Looking forward to #18.

Paul

Clete Ritta · From: San Antonio, Texas

Robert,

I've been playing E9 a few years and just got into C6 since getting a U12 and now a D10. I find scales a lot more fun on C6 now, and am learning a great deal from your charts. An easy tutorial style and great reference material. Smile

Just wanted to say thanks for posting these C6 scale lessons!

Clete

robert kramer · From: Nashville TN

Paul & Clete, Thanks for checking in. I use these patterns so I can play from scale books.

I have not indicated a specific fingering method in these exercises because each individual player will have their own picking method: two finger (either thumb/middle or thumb/index) or pick blocking or three finger. I happen to use thumb/middle crossover and when I’m shedding these exercises (or any other exercises) I adhere strictly to this method. When I’m actually playing – I don’t think about it – it’s whatever gets the job done.

Paul, I use thumb/middle crossover, too. If you want to e-mail me a list the exercises you need fingering for - I will chart the TM crossover fingering on these. I agree some of these exercises are too difficult reading off the paper. I was thinking the same thing and - starting in Lesson #19 - have started breaking them down into simpler parts.

Lessons start up again first Saturday in June and continue every other week

Lesson #15 has been divided into easy to learn groups with accent notes to show the timing:
http://bb.steelguitarforum.com/viewtopic.php?p=1590612&highlight=#1590612

Thanks again for checking in.

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