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Post new topic Where is A# on C6?
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Author Topic:  Where is A# on C6?
Peter Goeden

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Aspen Hill, Maryland, USA
Post  Posted 26 Oct 2007 5:56 am    
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I play C6 w/ the 2 on top (base to treble: 61356132). When a peice of music calls the regular guitar to play A# I'm assuming this means "A Sharp Major" which i'm assuming on the C6 lap guitar is at the 10th fret on strings 2,3,5,6,7. Am I correct?
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Robbie Daniels

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Casper, Wyoming, USA
Post  Posted 26 Oct 2007 6:50 am    
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If I am reading your question correctly, A# aka Bb on 10th fret would be strings 31531 based on your base to treble configuration.
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Denny Turner

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Northshore Oahu, Hawaii USA
Post  Posted 26 Oct 2007 8:45 pm    
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Pete,

Quote:
Q: A# = 10th fret on strings 2,3,5,6,7? Am I correct?


If you're asking about a triad voicing for A# chord (which is all A# tells the Player), then you are correct. Without anything else specified other than A#, it is understood to be A# Maj and the notation A# only specifies the triad notes. Any other added notes would have to be further defined / specified in the notation.

The Maj triad voicing is a safe Maj voicing, ....harmonious to both the Dom7 and Maj7 or any of their extensions. Maj7 = 1 2 3 4 5 6 7; While Dom7 = 1 2 3 4 5 6 b7.

However, if you're looking for other A# voicings or scale notes to play that would be harmonic to the composition, then the question remains whether the 7th note of the scale / mode being played is Maj7 or Dom7 (the notation A# or A#Maj isn't stated enough to know). A#Dom7 would be noted as A#7; While A#Maj7 would be noted A#Maj7 or A#M7.

The scale / mode / notes harmonic to A#7 (again, that notation is understood to be Dom7) are in the box formed by frets 8 and 10. The scale / mode / notes harmonic to A#Maj7 are in the box formed by frets 5 and 7. BUT, only the Dom7 box has the Maj triad all on one fret ...so the triad chord there is used with either Dom7 or Maj7.

And actually, the boxes for both the Maj7 and Dom7 are interchangeable except for the 7th note which can be corrected with a slant. Another trick to retain straight-bar movement in a wrong-7th box is to slur through the Maj and Dom7 notes in passing between the 1 and 6 notes (or vs vsa); In either box the straight-bar harmony will sound right with that trick. I move between the Maj7 and Dom7 boxes all the time regardless which one is in-mode with the composition; Just a little practice doing that will bring out a number of obvious techniques to work around the wrong 7 being straignt-bar and the correct seven being slant in either box.

And since IM7 and V7 are the very same identical notes in their same box in any key (for example CM7 box / notes = G7 box / notes); And thus I7 and IVM7 would also be identical notes in their same box (for example C7 box = FM7 box); Then moving from IV to V (or vs vsa) only requires moving either box just 2 frets up or down; Allowing you to move between I, IV and V within 4 frets ...in 2 different locations on the neck; With only the 7th note to deal with which will come amazingly automatic with a nominal amount of attentive woodshedding.

Here's the Maj7 scale in 2 part harmony, along with a sidebar link to a simple passage moving from IM7 to IV7 in the same box (and thus making I, IV, V in either the M7 or Dom7 boxes pretty obvious with a bit of woodshedding).
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