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Topic: Chording IV I II7 V7 with C6/C13 tuning |
Jim Rossen
From:
Iowa, USA
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Posted 23 Mar 2014 8:01 am |
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My apology if this is elementary-my-dear-Watson, but-
What is tasty for chords for the II7 and V7 of this progression, as present in Roly Poly? I am using lo Bfl C E G A C E G hi and have been playing strings 5 6 8 for II7 but the voicing seems too low. The two note alternatives I have come up with don't sound good to me and 3 6 8 is tough for me to execute. Advice?
Thanks
Jim |
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Don McGregor
From:
Memphis, Tennessee
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Posted 23 Mar 2014 6:55 pm
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Slant.
Strings 1, 2, and 4, with 1st and 2nd strings played on one fret, and the 4th string played up one fret higher gives all but the root note, with your 5th note of the chord on string one, 3rd on string 2, and flatted 7th on the 4th string.
Also, from where you are on that chord, move your bar up 3 frets higher on strings 1 & 2, and now play the 3rd string one fret higher than where you are playing on strings 1 & 2. This now gives the flatted 7th on the first string, 5th on the second, and 3rd on the string 4. These are the first two 7th chords that are voiced higher that come to mind.
Each of these can also be played without slanting, by pulling the 3rd or 4th string behind the bar with your finger so that they sound one fret higher.
Sometimes a 9th chord works well in the same spot, if that is in character with the arrangement.
Hopefully, this is something close to what you are asking. |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 25 Mar 2014 11:23 am
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Wow slants to do such simple chords. Not even all the notes. Why make life so hard.
Maybe a different tuning would make your life simpler.
I use my Theory Tuning: Lo - Hi
E, G, B, D, F, A, C, E
Quite a few variations and inversions of easy II-V-I and all Chords for that matter. Plus its strummable. |
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Les Anderson
From:
The Great White North
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Posted 25 Mar 2014 12:06 pm
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I am by no means an expert on the Nashville numbering system; however, I found it very disruptive to keep retuning throughout the night just so I could hit every chord, or chord progression in all the songs we would play throughout the night.
I started a long term goal of learning to slant forward and reverse with the C6th tuning. I can't hit every chord with a three string harmony but that no longer bothers me. When on stage, we usually whip through chords so fast that few if any (other than the steel player) notices you picking only one string.
My suggestion would be to stick with one tuning and practice slants every time you sit at your steel: keep it simple. If you are doing recording sessions, that's a whole new ball game.
_________________
(I am not right all of the time but I sure like to think I am!) |
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