C6 Copedant Explained... is there a standard?

[John Larson]

I'm trying to wrap my head around C6 a bit since I'm deciding if I should go the extended E9 route or D10 route. I see so much potential in the C6 tuning with all those accessible diminished and "jazzy" chords.

Is there a standard C6 Copedant and what is it?

Ive noticed for example Buddy Emmons, John Hughey, and Paul Franklin's copedents are quite different from one another some have a 9th pedal and some only have 8 pedals.

[Ian Rae]

You can't go wrong with Buddy Emmons as a starting point. Some players move P8 to the left of P5, and P4 seems to have gone out of fashion somewhat, but his basic setup still makes perfect sense.
Make sure you can raise and lower string 3 on one knee (usually right) and string 4 on the other - that's where the jazz chords live.
Then prepare yourself for endless fun!

[Ron Hogan]

John, get yourself the Buddy Emmons “Basic C6” course. He does an explanation of each pedal what they do and examples of what you can get. It’s a must if you want to learn that tuning.

I find myself listening to it every so many years and pick up something else even though I got it years ago.

I believe it’s available from steel guitars of the north in California.

https://youtu.be/MY5UBBjdEZE?si=3gjmV99dqNsNwT_W

[Ron Hogan]

https://steelguitars.me/

[Ian Rae]

I agree with Ron. That's the course that got me started.

[Dale Rottacker]

John I've always heard to start with Buddy's setup and then modify as you understand it better. I basically did that with a couple of suggested changes.

As far as Ex E9th or D10, there are probably as many arguments for as against. My take is this ... I spent many years playing C6th stuff on the E9th neck and during that time found playing C6th on E9th easier than C6th on C6th.

I'm personally glad that I never discarded that back neck, because to me there is just a WHOLE different feel to there. Again there IS a lot of C6th stuff to be found on the front neck, but the feel and attitude to me just isn't the same.

[Tom Spaulding]

Paul's starter C6 course uses the standard Buddy Emmons copedent.

Check out this link to see the course content details and check out the lesson on Buddy's setup: C6 Essentials

Here's the text of the FREE trial lesson:

SOME THOUGHTS ON THE TUNING & THE BUDDY EMMONS SETUP
The C6 is an easier tuning to learn than the E9.

Due to the the way Buddy laid out the pedals, the tuning follows the rules of Music Theory much more closely than the E9 does.

The 1 major and 1 minor are in the same fret position and most of the upper extensions (b5, b7, 7, 9, b9, #9, 11, 13 within Buddy's copedant) can be applied to both triads in the same position, over both the 1 major and 1 minor triad.

In Music Theory, harmonic formulas say I should be able to add the 6, 7, 9, 11, and 13th intervals to both triads, major and minor whenever needed.

The 3rd , 5th, 7th, and 9th intervals should be able to lower a 1/2 tone for a b3 b5 b7 b9

The 5th 9th and 11th intervals should be able to raise by a 1/2 tone over both triads for a #5 #9 and #11.

Buddy's copedent is based on harmonic theory, so it’s all about chord formulas and his pedal-to-knee placement was for easy access.

He found what he was looking for by using very few knees and pedals! Buddy's arrangement is a perfect place to start. Everyone alters it a little, but it usually exists within everyone’s copedent.


Musically and stylistically, the C6th is as just as versatile as the E9th. It can be played as "Country" as easily as it can be played "Jazzy". It’s a Rock and Blues tuning, and I find Classical pieces are easier to play as well. The sky's the limit.


NOTE: The Old-School Tuning With a G on Top is Obsolete.

To understand why I would say this:

For melodic playing try playing the E9th without the F# and see how confining the E9 tuning becomes for single notes and chord playing. The same problems arise without a D on top for the C6th.

You will lose just a couple of G options, but what you gain is astronomical. For those who know the tuning best, the D note on top is (and has been) the standard tuning since Buddy added it in the late 60's . . . and there is an easy work around that Buddy used for those times when he needed or wanted the G on top sound.


How Buddy Worked Around the Loss of the G Note on Top:

By putting a 1/2 tone raise on the "C" 3rd string you can move up three frets as Buddy did to get any of the chord voicings the G on top provides.

That move is familiar to us because it mimics what we do on the E9th with Group One. We raise our E's to F and move up 3 frets to get those same intervals.

I teach how both tunings, E9 and C6 are interrelated. I strongly recommend everyone start with Buddy's copedent because it’s all there. Once you master it as Doug Jernigan, Tommy White, Terry Crisp, and others have, you can decide which changes to add or drop for your own personal musical direction.

I believe everyone should know what they are giving up before they vary this almost perfect copedent for playing anything.

- Paul

[Roger Rettig]

Sound and reassuring words from Paul, as always.