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Topic: C6 chord chart, hope it helps |
TRAP TRULY
From:
Mobile , AL
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Posted 10 Aug 2002 4:40 pm |
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hey guys,
I put together a four page c6 chord chart using the standard setup w/ 2 knees.the chart display might take a little while to download so if you want just click to the right of where it says c6 chart and it will go to a printable form.
hope it is all correct and helps out.
thanks, trap
check below post for explination of chart http://dogriverpub.com/trap/trap.htm [This message was edited by TRAP TRULY on 11 August 2002 at 04:12 PM.] |
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David Norris
From:
Ramona, CA, USA
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CrowBear Schmitt
From:
Ariege, - PairO'knees, - France
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Posted 11 Aug 2002 4:56 am
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Thanx TT, your chart does help.
i love C6 even more than E9 so i'll be studying the phenomena...
i assume the fret positions are based on the 0 position:
C=0 or 12 fret.
+ 5 is 5 above 0
- 2 is 2 below 0 and so on.
Keep up the good work TT 
Steel What?
[This message was edited by CrowBear Schmitt on 11 August 2002 at 05:57 AM.] |
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TRAP TRULY
From:
Mobile , AL
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Posted 11 Aug 2002 12:14 pm
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I forgot the explination. Any 0 position is open position,or no pedals engaged. for example is you were looking for a major 7 chord in the key of c you would go to the 12th fret open position and hit strings 3,4,5,6,7 or any combo of those strings.
for an inversion of the C mj 7 chord,you could go 5 frets above open C at the 12th fret and hit strings 7,6,5,4,3,2 while engaging the 7th pedal.
+ means fret positions above the open position in any key
- means fret position below the open position in any key
hope this clears it up.
trap |
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Sam Minnitti
From:
New Rochelle, NY
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Posted 12 Aug 2002 6:14 am
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Trap,
Great chart, thanks for putting it together and sharing it with us.
I find this Emmons approach to chord charts one of the easiest to follow, especially compared to diagrams, which are often filled with confusing symbols.
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www.samminnitti.com
[This message was edited by Sam Minnitti on 12 August 2002 at 07:15 AM.] |
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Paul McClure
From:
Penfield, NY, USA
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Posted 14 Aug 2002 9:30 am
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Trap,
Thanks for the chart. One question - shouldn't the DIM row say "every 3 frets" instead of every 4?
thanks,
Paul |
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TRAP TRULY
From:
Mobile , AL
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Posted 14 Aug 2002 10:33 am
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the dim. should read every 3 frets. Also the first dom.7b9 chord should read -2.
[This message was edited by TRAP TRULY on 29 January 2003 at 09:24 PM.] [This message was edited by TRAP TRULY on 24 April 2004 at 11:13 PM.] |
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Larry Bell
From:
Englewood, Florida
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Posted 14 Aug 2002 11:42 am
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A diminished (or diminished 7th) chord is a stack of three minor thirds, so they invert themselves every three frets. A minor third is three half steps (e.g., C to Eb)
For example, Cdim
Spelling: C Eb Gb A
Each note is the same distance/interval apart
On C6, you would get that combo open with P5 and 6 on strings 4-7.
If you play those notes and go up 3 frets (to the third fret) it becomes
Eb Gb A C
Hope this helps
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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro |
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Bobby Boggs
From:
Upstate SC.
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Posted 14 Aug 2002 8:34 pm
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Larry,for some reason I can't remember this.Could be cause it's been 20 years since I've studied this.But is a 1/2 dim simply a major triad with a flat 5?  Thanks----bb |
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CrowBear Schmitt
From:
Ariege, - PairO'knees, - France
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Posted 14 Aug 2002 11:09 pm
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a half diminished has:
minor third
dim. fifth
minor seventh
Steel What?[This message was edited by CrowBear Schmitt on 15 August 2002 at 12:11 AM.] |
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Jeff Lampert
From:
queens, new york city
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Posted 15 Aug 2002 3:55 am
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| A half-diminished chord is more commonly written as a m7b5 or m7(b5) (minor 7 with a flatted 5th). While virtually non-existent in country, rock, and modern pop music, it is a staple of jazz standards. It's most fundamental usage is to take the basic ii,V progression in jazz, and impart a "dark", more emotional sense to the musical dynamic. When there is a m7b5 chord, it will often we followed by an altered dominant 7th chord, which continues this emotional, sad kind of sound. And it's most common resolution will be to a minor chord for the same reason. So, in the key of C, a common "happy" progression is Dm7 / G7 / Cmaj7. A "sad" or "moody" progression would be Dm7b5 / G7b9 / Cm7. Playing a Dm7b5 on the C6 tuning is easy. Fret 5 with pedal 6, strings 3,4,5,6,7,8, tonic on string 8. A G7b9 would be the same fret with pedals 5,6, strings 3,4,5,6,7,8,9,10, tonic on string 10. [This message was edited by Jeff Lampert on 15 August 2002 at 02:22 PM.] |
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Dave Birkett
From:
Oxnard, CA, USA
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Posted 15 Aug 2002 9:47 am
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| Jeff, have you read "To Be or Not to Bop"? Diz recounts how he learned the chord. It's very interesting. |
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Bobby Boggs
From:
Upstate SC.
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Posted 15 Aug 2002 11:05 am
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Thanks so much Jeff.Been playing it (Dm7b5) for years and didn't know it.Over a Bb bass note I played it against a Bb7 Bb9th and Bb13 etc etc.I guess it's always about what the bass player plays.That can be a scary thought. 
Any idea why some call it a 1/2 dim? Since both the 3 and the 5 are flatted. The minor 7 flat 5 makes way more sense to me.But then as you can tell.I'm not a school musician.Thanks for helping us dummies.  ~~~~~bb |
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Jeff Lampert
From:
queens, new york city
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Posted 15 Aug 2002 1:21 pm
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| Quote: |
| Over a Bb bass note I played it against a Bb7 Bb9th and Bb13 etc etc |
The notes of a Dm7b5 are shared by an Fm6, E7b9aug5 and, as you point out, Bb9 (and other chords as well I'm sure). But in the context of playing a Bb9 (or Bb13), that chord would not be considered a Dm7b5, for two reasons. First, since it's played with a Bb in the bass, the chord is acting as a 9th chord, which would be in a totally different capacity. Almost invariably, a Dm7b5 will be followed by a G7 (dominant 7th), and usually an altered one at that. (b9, #9, b5, #5). And then it will resolve to the Cm7 (not an Am7. I corrected my last post). This forms a ii,V,i. It is only within that dynamic that it is a Dm7b5. [This message was edited by Jeff Lampert on 15 August 2002 at 02:23 PM.] |
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Jeff Lampert
From:
queens, new york city
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Posted 15 Aug 2002 1:31 pm
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| Quote: |
| Any idea why some call it a 1/2 dim? |
In my fakebooks, it is always called a m7b5, so I don't think it's called a half-diminished very often. I think it's called a half-diminished based on the fact that you are starting with a minor 7 chord. When you half diminish it, you are flatting the 5th. When you fully diminish it, you are flatting the dominant 7, effectively making a 6 out of it. A fully diminished chord is normally called a diminished 7, which is of course a pretty common chord found in a lot of modern popular music, unlike the half diminished m7b5. |
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Jeff Lampert
From:
queens, new york city
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Posted 15 Aug 2002 1:32 pm
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| Quote: |
| have you read "To Be or Not to Bop"? Diz recounts how he learned the chord |
I haven't read it. Would you care to summarize what Diz said? |
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Dave Birkett
From:
Oxnard, CA, USA
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Posted 15 Aug 2002 10:32 pm
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Diz first heard Monk play the chord in the late 30s at Minton’s Playhouse. Monk called it a minor 6th with the 6th in the bass. Monk showed him the progression of going from let’s say an Ebm6th with a C in the bass to an F7. It wasn’t until much later that the chord was called a Cm7b5 or a half-diminished. Diz then used and extended the progression. An example is his intro to “Round Midnight”: Am7b5/D7#5/Gm7b5/C7#5/Fm7b5/Bb7#5/Ebmmaj7.
It's a much darker, more evocative sound than a minor seventh. You can really hear the difference in Miles'(or should I say Cannonball's) "Autumn Leaves."[This message was edited by Dave Birkett on 15 August 2002 at 11:38 PM.] |
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steve takacs
From:
beijing, china via pittsburgh (deceased)
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Posted 21 Apr 2004 12:38 pm
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| I'm bumping this one up for guys not familiar with it. Great C6 chords charts by Trap Truly . steve |
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John Bresler R.I.P.
From:
Thornton, Colorado
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Posted 4 Feb 2006 10:13 am
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TTT This is a great C6th chord chart.
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Terry Sneed
From:
Arkansas,
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Posted 4 Feb 2006 4:25 pm
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Very nice chart! Is there a similar chart for E9?
------------------
Mullen D10 /8x5 / session 500rd/ American Strat Highway 1 model
steelin for my Lord
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Bud Harger
From:
Belton, Texas by way of Baton Rouge, Louisiana
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Posted 4 Feb 2006 6:04 pm
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Trap,
I've been using your C6th chart for a long time now...it is super. Thanks for doing it.
Best personal regards,
bUd |
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Sonny Jenkins
From:
Texas Masonic Retirement Center,,,Arlington Tx
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Posted 6 Feb 2006 10:13 am
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| Great chart,,,now I have to convert it to Jeff Newmans E9/B6 uni,,,,,,,,,,,,,,,,,,,,,, |
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Ray Minich
From:
Bradford, Pa. Frozen Tundra
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Posted 6 Feb 2006 10:21 am
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| Terry, the chart for the E9th is included in Buddy's "Chord Vocabulary" which is really inexpensive. It's a great addition to Trap's project. I have both. |
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Colin Goss
From:
St.Brelade, Island of Jersey, Channel Islands, UK
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Posted 6 Feb 2006 11:29 am
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Sonny if you do convert it to Jeff Newman's E9/B6 Universal, please post it here for others to make use of.
Thanks |
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Shaun Marshall
From:
San Rafael California, USA
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Posted 6 Feb 2006 11:36 am
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| Thanks Trap, I will use this chart often, nice Sho-Bud you have there ! |
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