Post by Steve FreidesPost by hank alrichPost by Steve FreidesPost by Les CargillPost by g***@hotmail.comIsn't C6 referring to C dominant 6th,a substitute or variation of
the dominant 7th chord ,whereas Cmajor 6th is a variation of the
Major7h chord, 4th chord and 5th chord
There is C6, Cadd6 and Cmajor6.
C6 is identical to A minor ignoring inversions. C E A
Cadd6 has both the V note and the VI note - C E G A
Both the above are C-E-G-A. Your C6 is Am/C in guitar lingo or 1st
inversion Am. No one bothers to say C add 6 because C6 says the same
thing.
"Add" tells you to skip notes, e.g., C9 is C-E-G-Bb-D but C add 9 is
just the triad plus the 9th, C-E-G-D. Thus C add 9 is "take a C
triad and add a 9th."
Post by Les CargillCmajor6 live in context with a C9 chord but is
otherwise the same as an Cadd6
Never seen Cmaj6.
I think Les came by that one via steel guitar, where it's one of the
basic open tunings. Could be wrong.
Are we talking pedal steel guitar? I know nothing of that whole family
of instruments, save that the guy who play with Allison Kraus is just
plain awesome at it. Would love a primer.
-S-
There are instructional videos all over the internet.
Joe Wright:
http://www.sierrasteels.com/lessons/e9th-lessons.html
Mickey Adams.
https://www.youtube.com/user/Singlpilot
10 9 8 7 6 5 4 3 2 1
E9 tunes B-D-E-F♯-G♯-B-E-G♯-D♯-F♯ open ( big to small ).
the (5)B & (4)E are the same as strings 1 & 2 on a six string.
The D# and F# on strings 2 and 1 are *lower in pitch* than the E and
G# on 4 & 3, respectively. This is by historical accident. The (3)G#
is highest in pitch, then (1)F#, then (4)E, then (2)D#.
The reason is that Buddy Emmons put them on that way when
going from 8 to 10 strings and other people copied him before he could
put them in order. Literally pure path dependence.
After a while, it actually makes sense for them to be that way - your
main triad is all together that way. You hit fewer F# and D# strings;
they are mainly there for passing tones, or -add notes (2, 9 or maj7)
For E9 ( Nashville ) steel, the main pedals/levers are:
A - Raises the B strings to C# for a vi chord.
B - Raises the G# to A. A+B gives you a IV chord, B is a sus4, A alone
is a vi chord. Rocking on and off the A pedal with B down is *THE*
steel sound - IVsus2-IV ( relative to no pedals - A and B down
could be the tonic depending. )
C - Raises (5)B and (4)E to C# and F# to give you a ii chord.
E lower lever - Lowers all E's to D# for a iii (G# at the open string )
chord. Provide for the vii chord in a chord scale. It may be
half-diminished; I forget.
The E lower with the B pedal give you a Vdom7.
F lever - Raise the E's to F. Makes for a dim or dom7 dependent on
context. Also turns the A-alone pedal into a major VI.
Which lever or pedal is which varies form guitar to guitar. There
are a couple of standards.
There are other levers and pedals. The main one is the X lever, which
turns an AB pedal A major into a minor by lowering the B strings to A#.
Most have a lever to drop (2)D# to D or D and C# ( with what is
called a half-stop ) Pedal steels are "programmable" and you can make
any "copedent" you like. There are lots of them.
Tune string (9)D to A# and it's a completely different guitar.
The ideas is to be able to play a chord scale without moving the bar.
And sure enough, you can. You can't hit the same strings for all
chords, though. On real material, it is not a sin (quite the opposite
) to move the bar, it's just riskier. I hear big name players who plant
the bar wrong now and again.
C6 is even more complex but somehow also simpler. It's
C-F-A-C-E-G-A-C-E-G or C-F-A-C-E-G-A-C-E-D
There are five standard pedals
4 - Raise the (4)A and (8)A to B. Moves a 6th onto a major 7.
5 - Raise (1)G to G#, lower (5)G to F#, raise (9)F to F# and (10)C to D
. I don't actually know what that makes, but you can slide up three
frets and get a very minor-sounding IV chord.
6 - IV chord in place *or a minor* - lower (6)E to D# and raise (2)E to
an F.
7 - Raise (3) and (4) a whole tone each. It's the 13th tuning pedal, I
believe.
8 - Dunno, don't have one. (7)C to C#, (9)F to E, (10)C to A ( same a
as on an open bass guitar ). Lol, whut?
C6 pedals *replaced necks* on multiple-neck guitars. Mostly. You can
have any tuning and copedent you desire.
Obviously, picking strings carefully you can get a shipload of things
without even moving a pedal. Chord scale without a lever/pedal involves
at most two frets either side from the home fret.
There may be levers, but they are not particularly standard.
I use a U12, which is both an E9 and B6 in one, with some
pieces missing but real advantages for some things.
http://www.larrybell.org/id24.htm
I think Ralph Mooney just about used only three pedals.
Eddie Rivers don't need no pedals at all.
--
Les Cargill