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While this web-site assumes
you have knowledge of traditional jazz, it does not assume that you play C6. Therefore,
this topic will help you get going technically with playing the tuning.
It is also highly recommended that you purchase a C6 course so that you
can start playing real songs, and use it in conjunction with this web-site to
orient your thinking around the application of traditional
jazz theory and harmony on the C6 tuning. That’s
what this web-site is for. We’ll
use a I,ii,V,I progression
in the key of C, which is Cmaj7,Dm7,G7,Cmaj7.
I (Cmaj7)
- Go to the 12th or zero
fret (skip string 9) and use pedal 7 or C->B knee lever to make the
Cmaj7. Also, go to fret 7, and get your Cmaj7 there, with no pedals.
ii (Dm7)
- Go to fret 5, no pedals
(skip string 9). Also, go to
fret 2 or 14 with pedal 6 and A->Bb knee lever (skip strings 8,9).
V (G7)
Go
to the 2nd (or 14th) fret with pedal 6, 5th fret pedal 5, or 7th fret with
A->Bb knee lever (skip string 9). Also,
let’s throw in an example of an alteration on the V: to play a G7b9, go to the
2nd fret (5,8,11,14 also) with pedals 5,6. The following chart summarizes
the fret positions and pedals for these chords.
| Chord |
fret |
pedal |
fret |
pedal |
fret |
pedal |
fret |
pedal |
| Cmaj7 |
0,12 |
7 or C->B |
7 |
no pedal |
|
|
|
|
| Dm7 |
2,14 |
6,A->Bb |
5 |
no pedal |
|
|
|
|
| G7 |
2,14 |
6 |
5 |
5 |
7 |
A->Bb |
|
|
| G7b9 (sub for G7) |
2,14 |
5,6 |
5 |
5,6 |
8 |
5,6 |
11 |
5,6 |
Playing the progression
- When playing a Cmaj7|
Dm7| G7| Cmaj7 (I,ii,V,I), you can use any of the above positions when
playing the progression. Using the above chart in the Cmaj7| Dm7|G7 |Cmaj7
progression, you can play frets 7,5,8,7 or 12,14,11,12, or 12,5,7,7, or
7,2,5,12, or 7,5,2,0, or 0,2,2,7, or 7,5,5,7. You just have to select from the
above fret positions and pedals.
String grips
Try
tightly spaced grips such as strings 2,3,4 or 6,7,8.
Try slightly spaced grips such as 2,3,5 or 5,6,8. Try wide grips such
as 3,5,8 or 4,6,9. Wide grips
are particularly useful for playing the root of the chord, which is normally
found on the bottom strings. You
can also sweep many times, and get string combos like 2,3,4,5 or 5,6,7,8,9.
Experiment
-
Most
if not all notes at a fret are either tones in the chord or extensions.
While most topics in Jeff’s Jazz have examples in tab, this topic
doesn’t. You should experiment
with all strings at the fret to hear what you can get.
Practice the various grips. You will find that immensely useful in mixing
your chord voicings which is a big part of playing the C6 tuning.
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