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Topic: C6th Swing Chords |
Rick Myrland
From:
New Orleans
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Posted 20 Mar 2013 2:45 pm |
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I just received Doug Jernigan's C6th Chord Manual and it is packed with every imaginable chord..."chord overload," so to speak. I am interested in mostly western swing stuff as that is what our band is doing, along with traditional honky tonk. Any thoughts on what extended chords (because there's a million of them in the book) sound best for swing? And, can I use these over the major progressions even if the lead and rhythm player isn't?
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Mullen G2; Fender Tone Master Twin Reverb; Goodrich L-120 |
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Larry Bressington
From:
Nebraska
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Posted 21 Mar 2013 6:20 am
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Keeping it simple seems to be the cleanest i think...Use extentions sparingly, of 6th tone, 9th tone and 13th tone on top of the basic chord, maybe not all together though...A6th, A9th, A13th etc or 12 bar like; A6th, D9th, E7#5, E9, E7, E6 blah blah
You can also do 'Superimposing' where you just play the extentions ONLY, such as this in key of A...Play F#m chord over A, play Am over D and play Bm over E as an example using only 3 notes in any chord, of course it goes on forever. Rythem, feel, groove and phrasing is what brings it alive. [A CHORD]F#.A.C#.......[ D CHORD] A.C.E....[ E CHORD] B.D.F#
I'm only a 'Dabbler' so don't take anything i say as Gospel.
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A.K.A Chappy. |
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Lane Gray
From:
Topeka, KS
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Posted 21 Mar 2013 7:49 am
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I'd say Chappy is on a good track. Sort of. 7ths when you want to say you're going up a fourth. 9ths and 6th/13th when you dont. There's times when a maj7 swings, too.
Here's a grip for ya with lots of swing uses: strings 3, 5 and 8. At the 12th fret, it's a C6, an F9, A D7 with sus4, an A sharp9, and I think it works against a Bb, although it has maj7, 13 and 9, as a G, it has 9, root and sus4. So it can take you nearly everywhere (works best as C, F and A)
While you don't need the Encyclopedic knowledge of Russ Wever, buddy Emmons, or Reese Anderson, the more you know, the better use you will make of them.
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
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Posted 21 Mar 2013 8:42 am
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How about the types of chord you hear all big boys playing? Like Emmons, Chalker etc. They don't sound like the "simple" chords you are all talking about. Take a listen to the following and you will know what I mean. I have never seen any courses that deal with these chords and how to use them.
CLICK HERE
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 55 years and still counting. |
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Lane Gray
From:
Topeka, KS
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Posted 21 Mar 2013 8:54 am
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In the first minute, Buddy used a wide three finger grip (it sounded like 9-6P6-4) and some diads, some arpeggii that I'd call single string work.
Curly's on another planet. I bet Jernigan's manual will have most of them, but precious little insight into how Curly used them
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Larry Bressington
From:
Nebraska
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Posted 21 Mar 2013 10:13 am
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Joe Pass has some great write up's about how he see's chords from the 'Melody Note' and builds around it, he talks commonly of simplicity, like 5th and 13th and 3rd many times omitting the Root because the bass player has that covered. Guitar players tend not to cloud the sound by playing 5 or 6 note chords. Octaves also work great with just 1 note whatever the key tone may be, clarity is key. Technically old school Europe, an extention does not exist until it see's a 7th tone, it's an 'Added note'... America broke that rule when Jazz was introduced, and many play extension's without the 7th tone, and it still gets called a 9th, even though it's an [Added] 2nd theoretically. Those firm rules have been a blessing for us for 500 years, but the debate will continue for another 500.
As Buddy once said; Don't let all the theory plug/cloud your thoughts. Take something simple and start swinging it.
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A.K.A Chappy. |
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Rick Myrland
From:
New Orleans
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Posted 21 Mar 2013 10:55 am
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The "superimposing" approach intrigues me; I'll have to look more into that.
Maybe it's not the chords that will give me the "western swing" sounds I'm looking for, but, as Lane pointed out, the grips.
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Mullen G2; Fender Tone Master Twin Reverb; Goodrich L-120 |
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James Taylor
From:
United Kingdom
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Posted 21 Mar 2013 2:06 pm Chords
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I remember when I twinkled afew chords and decided to get proper guitar lessons- 6 string guitar. My tuitor had been a pro jazz guitarist and I just could not believe there were so many chords . In those days it was Eddie Lang's Vol one and two instruction manuals , including "Picking My Way " , " April Kisses " ,"Feeling My Way " etc; Then Eric Kershaws study of dance band chords.However, that was many years ago and I am on a learning cycle once more and will take on board all good information that is being transmitted on the Forum.James Taylor  |
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Lane Gray
From:
Topeka, KS
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Posted 21 Mar 2013 4:24 pm
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| Larry Bressington wrote: |
...Those firm rules have been a blessing for us for 500 years, but the debate will continue for another 500.
As Buddy once said; Don't let all the theory plug/cloud your thoughts. Take something simple and start swinging it. |
Sure. But I like thinking of the rules as instructions (or examples. Both metaphors work) on how things have gotten built by others, and the notes themselves as a big ol' Erector set (damn, the kid's showing his age): The more instructions/examples in your head, the more ideas you'll have when it becomes your turn to make something.
And I have other metaphors hanging around. Metaphors are like songs: have enough of 'em, and one will always come in handy
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Douglas Schuch
From:
Valencia, Philippines
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Posted 25 Mar 2013 6:17 pm
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This thread has ventured into the esoteric with Curly, et. al., but back to basics:
As a newbie trying to learn C6, I find using thumb and three fingers opens up a lot of possibilities. C6 has endless chords using four adjacent strings (and, of course, using the ring finger opens these up without strumming them). And in the case of the chords on strings 2,3,4,5, 3,4,5,6 or 4,5,6,7 you can spread the grip and get the same chord with a wider range: 2345 becomes 2457, 3456 becomes 3568, and so on.
If the steel is playing with only drums, and maybe a bass, these big chords are easy to play and give a "big" sound. If other instruments are involved, it is easy to play the same positions with only 2 or 3 notes, often not even including the root.
Even if you do NOT want to start using the ring finger in your playing, understanding these grips opens doors, as you choose which notes you play based on which ones the rest of the band are playing, and the sound you want to achieve.
If you learn the basic positions for 3-note major and minor chords, then learn these pretty simple extended chords, you can play a whole lot of swingin' tunes in pretty basic grips. I think this might be more of what you are looking for?
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Bringing steel guitar to the bukid of Negros Oriental! |
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Carl Mesrobian
From:
Salem, Massachusetts, USA
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Posted 17 Apr 2013 7:27 pm
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From my guitar playing jazz I sometimes play the 3rd and 7th voice, and many times only play 3 or 4 notes in the voicing. The root is covered by the bass, the 5th is extraneous. Look for 9ths, 6ths, b5, etc.
I soon will be exploring the C6 neck
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--carl
"The better it gets, the fewer of us know it." Ray Brown |
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