Comping chords on Lap Steel with C6 (bebop)

Mike Neer · Post by **Mike Neer** » 7 Nov 2010 8:53 pm

I've always loved playing rhythm guitar and when I started getting interested in playing Jazz, a guy I studied with told me about Red Garland and guys like that who played sparsely, but in a syncopated way, with shell voicings.

For people who think C6 tuning is just for getting island sounds, I humbly submit this 4:00 or so of just simple chord comping to the tune of Yardbird Suite by Charlie Parker. By the way, it is an 8 string C6 tuning with the 7th string tuned up to Bb, so it is a C13 tuning. Now it is kind of weird putting this out there since it really is just a live take with an Aebersold bass and drum track, but I think it serves its purpose pretty well. I think I just barely scratched the surface here, but I was trying to play the way I would behind a soloist.

Anyway, feel free to use this as your own rhythm track if you like. Maybe tomorrow I'll record a take of the head and blow a few choruses.

Yardbird Suite comping

I've added a chorus or two of jamming as well as the head of the tune (WARNING: it's me gettin' real stoopid):
Yardbird Suite jam

Doug Beaumier · Post by **Doug Beaumier** » 7 Nov 2010 10:44 pm

That's a good demo, Mike, and it does get the point across. The idea that C6 is just for "Hawaiian" music is ridiculous. I love Hawaiian as much as most members here, and C6 is good for that, but it's a versatile tuning because of it's close intervals and voicings, and convenient slants... good for swing, jazz, rock, country, Hawaiian, etc. It may not have the beefy low end of E or D tunings, which some players like for blues, especially when performing solo... but it's more versatile than those tunings IMO. If a player simply strums across the strings, yes, it sounds Hawaiian (6th chord). He needs to learn to omit certain strings for the chords, majors, minors, etc.

Mike Neer · Post by **Mike Neer** » 8 Nov 2010 6:35 am

Doug, I don't really play much Hawaiian music, but on the rare occasion I do, oddly enough, I don't play it in C6--I get old school and play it in C#m7 or E tuning.

Oh, and thanks about the avatar. I was trying to come up with a design for a logo for my site and I started fooling around with Paint. I have a simpler version, but I like this one.

John Allison · Post by **John Allison** » 8 Nov 2010 6:40 am

Nice, Mike
I think you better re-record that with some tasty solo work on top of it, though.

It reminds me that I've been meaning to drag out my Jamie Abersold tracks. They're obviously a great aid for steel.

Andy Sandoval · Post by **Andy Sandoval** » 8 Nov 2010 7:42 am

Very nice Mike. Were all those pretty chords three string grips?

Geoff Cline · Post by **Geoff Cline** » 8 Nov 2010 8:10 am

Mike:

Killer! This is EXACTLY the kind of thing that I want in a "lesson."

As the saying goes "I gots to know." What are these grips/chords?

Thanks,

geoff

Mike Neer · Post by **Mike Neer** » 8 Nov 2010 9:49 am

They are mostly 3 note shell voicings of the 13 chords and 7#9 chords. This would sound great through a Leslie cabinet.

I was thinking of doing some lesson videos of this kind of stuff, but I would really have to organize the material, unless I just selected one tune to work it out with.

David Matzenik · Post by **David Matzenik** » 8 Nov 2010 1:51 pm

Mike, very cool stuff. It reminds me of Ralph Kosiana's playing in his video. As far as the C6 being Hawaiian sounding, I've always thought it sounded kind of swingy, and when one considers the tunings origins it fits. Hawaiian is a broad term. One can easily hear the influence of folk, country, swing, and jazz in Hawaiian music depending on which decade one is focused on.

Don McGregor · Post by **Don McGregor** » 8 Nov 2010 4:03 pm

This is great stuff.
This is the kind of stuff I need,
sort of a Micky Baker book for steel.
I'm finding a lot of these chord positions and voicings on my own, but any leg up through lessons, video, or whatever, is much appreciated.
Thank you, Mike.
Keep it coming.

HowardR · Post by **HowardR** » 8 Nov 2010 7:24 pm

Hey Mike.....that's a great subject to touch on....and a great example....thanks....

With regard to the 8 string C6 (C13) tuning.....wouldn't you be tuning the 7th string down to Bb?

Mike Neer · Post by **Mike Neer** » 8 Nov 2010 8:57 pm

Howard, I use the C6 tuning with the E on top. The lower string 8 serves me better, as I like to use that as my secret weapon.

Mike Neer · Post by **Mike Neer** » 8 Nov 2010 10:42 pm

I've added the head and a little bit of soloing, but not much because things just got too out of hand.

Anyway, the head proved to be pretty difficult to play. I've only spent an hour or so with the head, so I haven't worked out all the kinks, but I must have played it about 10 different ways until I found the the connections that made the most sense to me in terms of coordinating the picking with the phrasing. That is a whole subject unto itself, and I blogged about that recently. The recording falls short of nailing it, but I'll get there...eventually. Too many other things to do. Besides, I want to get back to playing some pretty music.

Yardbird Suite jam

Lee Gillespie · Post by **Lee Gillespie** » 9 Nov 2010 6:29 am

SEE .....YOUR NEVER TO OLD TO LEARN... Thanks Mike. After play the C6 tuning for about a hundred years (just kidding). You opened a new door for me. Gonna set the Reso aside and pull out lap and give it a try.
Thanks again Lee

John Allison · Post by **John Allison** » 9 Nov 2010 6:32 am

That's what I'm talkin' about!!
Very cool and (even though you might consider it a rough draft) very enjoyable listening.
Thanks for sharing!

Ray Shakeshaft · Post by **Ray Shakeshaft** » 9 Nov 2010 7:15 am

That was great Mike. Loved it. It is a wonderful eye opener to those who believe that lap steel is only good for Hawaiian or C&W music.

Geoff Cline · Post by **Geoff Cline** » 9 Nov 2010 8:31 am

Well, that was "pretty" to me! Thanks for going for it...a very jazz attitude! Well done.

Post by **Brad Bechtel** » 9 Nov 2010 9:27 am

It sounds cool to me, but because I'm not familiar enough with the song, I can't tell where you're going with this. I'd like to hear this with a melody over it to get a better idea of how you're adapting to the melody.

Keep it up, Mike. I always enjoy hearing what you're doing.

Mike Neer · Post by **Mike Neer** » 9 Nov 2010 10:14 am

Brad, the first 32 bars are the melody, unless you only listened to the comping version.

Post by **Brad Bechtel** » 9 Nov 2010 10:33 am

Guilty as charged.

HowardR · Post by **HowardR** » 9 Nov 2010 12:10 pm

So your tuning is.....

1. E
2. C
3. A
4. G
5. E
6. C
7. A
8. G

and if I wanted to transpose that to G6 (G13).....

1. B
2. G
3. E
4. D
5. B
6. G
7. E
8. D

love your second rendition.....that would be a great tune for the non pedal session at Dallas this year...

Twayn Williams · Post by **Twayn Williams** » 9 Nov 2010 12:24 pm

When comping in a jazz style -- or frankly in any style -- always pay close attention to any syncopations in the melody and make sure you support those rhythmic figures and don't compete with them. A good pattern to think about when comping is a simple 3-3-2, i.e. 8/8. Also, when comping for a soloist, do not compete with their rhythmic feel, but complement and support.

Playing rhythm is a real lost art and most people do it badly -- NOT pointing at you Mike, just a general observation

Mike Bagwell · Post by **Mike Bagwell** » 9 Nov 2010 2:39 pm

This is great!!!. I wish I could do that. I will buy a instruction book or video if you put one out on this style of comping. I just can't seem to put it together rhythmically.

Mike

Steve Cunningham · Post by **Steve Cunningham** » 9 Nov 2010 9:13 pm

Great ideas Mike - I really like your chromatic chord substitutions.