| Author |
Topic: Chord substitution A6- C6 with a V on top |
Tim Toberer
From:
Nebraska, USA
|
Posted 29 Jul 2022 8:13 am |
|
What are the less common (or common?) double-triple duty chords people are using in this tuning without relying on slants or behind the bar pulls? I find this way of thinking must be essential to playing through more melodically challenging tunes on steel guitar. Thinking in terms of relating to the root position here. Side note- I am starting to use some b5 subs on standard guitar, but haven't gotten close to thinking about it yet on steel. Dom. chords are tricky in this tuning! Anyone using b5 subs on steel guitar?? I probably need to start using more diads, but I prefer three note chords when available. minor 6 and m7b5 chords are quite tricky also.. These cover the basics.
Major 6 and minor 7th chord are built into the tuning major and minor triads- Relative minor substitution
9th chord (no root no 3rd) two frets below on strings two three and four and a rootless Maj 7 chord on strings two three and four five frets below. (add string one and five for a major 9th) - Minor triad substitution
Augmented diad on second and third and sixth and seventh strings. Up and down the neck in steps of four
Dominant 7 chord (no root no 3rd) three frets up omitting strings three and seven ugh again no 3rd!
Diminished 7 diad on strings one and two and five and six or strings three and four and six and seven on the next fret up. played up or down in steps of three |
|
|
|
Mike Neer
From:
NJ
|
Posted 29 Jul 2022 9:56 am
|
|
Just a quick reply--if it's A6 you are using, you'd have a blast tuning strings 7 and 8 up 1/2 step. Got this from Billy Hew Len, except I think he used only 7 strings. If you leave string 8 as F#, you would also get nice possibilities with the full F#7 right on the bottom, in which case I'd call it A6/F#7 and refer to the 7th string as A#.
G Bb C# E F# A C# E
The reason I called the 7th string Bb is based on the same thinking from music theory that you wouldn't have an A# in an A scale--it would be a b9 or b2: Bb.
_________________
http://www.steelinstruction.com/
http://mikeneer.com |
|
|
|
David Matzenik
From:
Cairns, on the Coral Sea
|
Posted 29 Jul 2022 1:07 pm
|
|
I use the G on the bottom, but will have to explore the Bb. But if you want the possibilities spelled out, you can't beat this little app.
https://steelsidekick.com/
_________________
Don't go in the water after lunch. You'll get a cramp and drown. - Mother. |
|
|
|
Lee Gauthier
From:
Victoria, BC, Canada
|
Posted 29 Jul 2022 10:35 pm
|
|
I was recently playing around with these two variants on a 6th tuning the first is very close to the one Mike Neer suggested but I raise the G:
G# A# C# E F# A C#
If I'm playing A6 or F#7 depending on what is more convenient for what I want to play. The reason I added G# was to get a nice low A#ø7 on the bottom 4 strings.
The variant I'm using now if based around A6 adds a string on the top instead:
A# C# E F# A C# D#
This yields a D#ø7 or F#m6 on the top 4 strings. Not really sure what to call this variant - Maybe F#13 / A6 or F#b9/13 ?
Could go wild on an 8 string and get:
G# A# C# E F# A C# D# |
|
|
|
Lee Gauthier
From:
Victoria, BC, Canada
|
Posted 29 Jul 2022 10:44 pm
|
|
I noticed you want the 5 on top, maybe a reentrant D# instead?
A# C# E F# A C# E D# |
|
|
|
Tim Toberer
From:
Nebraska, USA
|
Posted 30 Jul 2022 4:41 am
|
|
| Quote: |
I'd call it A6/F#7 and refer to the 7th string as A#.
G Bb C# E F# A C# E |
I have been trying to resist the twist, and just see what I can get out of the regular A6, but this is tempting and I will have to try it out. I do tend to prefer the altered strings in the lower part of the tuning and have played with raising the F# to a G. Raising the A gives you the equivalent of C6/A7 if I am thinking about this right. I know that is becoming a popular tuning. I just can't wrap my head around re-entrant strings. If I do try this, I think I will go the Joaquin Murphey route and put it on the lower end kind of like a banjo. That way Its easier to avoid it when I don't want to think about it.
That is a good one but I prefer https://www.studybass.com/tools/chord-scale-note-printer/ It has a few more options |
|
|
|
Mike Neer
From:
NJ
|
|
|
|
Jean-Sebastien Gauthier
From:
Quebec, Canada
|
Posted 30 Jul 2022 10:10 pm
|
|
I’m currently exploring Junior Brown’s c13 and Joaquin’s C6/A7 and both are great for chords! Joaquin’s is the best so fare for chords but that big fat C13 is hard to beat.
You should not refuse to use slant, there so much great chords with slants! |
|
|
|
Tim Toberer
From:
Nebraska, USA
|
Posted 31 Jul 2022 5:33 am
|
|
| Quote: |
| You should not refuse to use slant, there so much great chords with slants! |
I'm not against slants, I am just trying to find everything I can that doesn't slant. I am getting better at harmonizing up and down the scale using some slants. Also, I am practicing some cadences. All bread and butter for sure. I do some behind the bar pulls. I just found a cool one. When you pull up the high E 1/2 step if you play the top 3 strings you have an augmented triad. If you play the top 4 strings you have a minor-Major7 chord. I am starting to think of this as the Stardust chord. This opens up some ideas for using augmented diads, and triads over this chord. I don't like relying that heavily on slants and pulls however. Oddly, I sometimes forget that A6 tuning could just as easily be called F#m7 tuning. |
|
|
|
Tim Toberer
From:
Nebraska, USA
|
Posted 1 Aug 2022 5:11 am
|
|
| Quote: |
| f you leave string 8 as F#, you would also get nice possibilities with the full F#7 right on the bottom |
I am going to give this a try. I have been tinkering with Up a Lazy River and I think this tuning might be just right for this song. I also like that if I pull up the F# to G you then have an A#7 dim chord (A7b9). I think I see why people like this! |
|
|
|
