Here is some backround and a complete "numbers" chart

C6/A7 tunin' ... Key of C ... Fret 0-24

	C#	E	G	A	C	E

	
0)		3	5	6	1	3	
1)	2	4				4	
2)			6	7	2	
3)	3	5		1		5
4)	4		7		3
5)		6	1	2	4	6
6)	5						
7)		7	2	3	5	7
8)	6	1		4		1
9)			3		6
10)	7	2	4	5		2
11)	1				7
12)		3	5	6	1	3
13)	2	4				4
14)			6	7	2
15)	3	5		1		5
16)	4		7		3
17)		6	1	2	4	6
18)	5	
19)		7	2	3	5	7
20)	6	1		4		1
21)			3		6
22)	7	2	4	5		2
23)	1				7
24)		3	5	6	1	3

Bold = Whole Step "Modal Box" ... (F6-G6)

Key of C

C  D  E  F  G  A  B  C 
1  2  3  4  5  6  7  1

I  		C   	1 3 5
IIm		Dm	2 4 6 
IIIm 		Em    	3 5 7 
IV		F	4 6 1
V7		G7	5 7 2 4
VIm		Am	6 1 3 
VIIdim		Bo	7 2 4

Various C Chords

I7		C7		1 3 5 7b
IMaj7		CMaj7		1 3 5 7
Iaug		C+		1 3 5#
Idim		Co		1 3b 5b 6
I9		C9		1 3 5 7b 2
I13		C13		1 3 5 7b 6
Im7             Cm7             1 3b 5 7b

Here are the basic "2 Note" slants ...

These are VERY handy ... and they make up the foundations of the fluid style associated with Hawaiian steel.

Reverse Slants

Strings 2-1

1-3     "Homebase" 6th Chord       
  4
2
  5
3
4-6

5-7
  1
6
  2
7
1-3     "Homebase" 6th Chord   

Reverse Slants

Strings 4-1

5 - - 3     "Homebase" 6th Chord
      4
6
      5
7
1 - - 6

2 - - 7
      1
3
4 - - 2

5 - - 3     "Homebase" 6th Chord

Strings 3-2

6-1     "Homebase" 6th Chord

7-2
1
  3
2-4

3-5
4
  6
5
  7
6-1     "Homebase" 6th Chord

Forward Slants

Strings 5-2

3 - - 1     "Homebase" 6th Chord     
4
      2
5
      3
6 - - 4

7 - - 5
1
      6
2
      7
3 - - 1     "Homebase" 6th Chord

Forward Slants

Strings 5-4

3-5     "Homebase" 6th Chord
4
  6
5
  7
6-1

7-2
1
  3
2-4

3-5     "Homebase" 6th Chord

String 6-5

--3     "Homebase" 6th Chord
2-4

3-5
4
  6
5
  7
6-1

7-2
1
  3     "Homebase" 6th Chord

Here are some corresponding Chords associated with these "Double stops".

1-3   I , VIm
2-4   V7, IIm, VIIdim
3-5   I, IIIm
4-6   IV, IIm
5-7   V7, IIIm, 
6-1   IV, VIm
7-2   V7, VIIdim

There are others of course ... especially when you start makin' fancy chords (6ths, 13ths, etc.) ....

This will give you the foundations of the looking at the fretboard ... "Slant Style"

There are plenty of "3 note" Slants to work on too (reverse, forward, split string)....
but some are quite difficult to play "in tune" ....

In my opinion, it is best to work on maneuvering the bar FAST and ACCURATELY on these "2 note" slants before goin' after those rascals ....

------------------

www.horseshoemagnets.com

[This message was edited by Rick Aiello on 02 June 2003 at 05:28 AM.]

I like to use Notepad (Windows) when doin' stuff like this ... it keeps the spacing even ... then just cut/paste in conjunction the [tab] function.

How 'bout a nice "walk" from V7 to I in the Key of C .... using reverse slants on strings 1 and 2.

Here's the corresponding Chart:

-------------------------------------------
Reverse Slants

Strings 2-1

1-3     "Homebase" 6th Chord       
  4
2
  5
3
4-6

5-7
  1
6
  2
7
1-3     "Homebase" 6th Chord   

Heres the application:

Fret 7 :   5-7   (G-B)   Straight Bar
 
Fret 8 :     1    
            /    (A-C)   Reverse Slant
Fret 9:    6

Fret 10:     2
            /    (B-D)   Reverse Slant
Fret 11:   7

Fret 12:   1-3   (C-E)   Straight Bar

-----------------------------------------

I have always used the "Number system" ...

Key  C   D    E    F    G    A    Bb   B

1 =  C   D    E    F    G    A    Bb   B
2 =  D   E    F#   G    A    B    C    C#
3 =  E   F#   G#   A    B    C#   D    Eb
4 =  F   G    A    Bb   C    D    Eb   E
5 =  G   A    B    C    D    E    F    F#
6 =  A   B    C#   D    E    F#   G    G#
7 =  B   C#   Eb   E    F#   Ab   A    Bb

[This message was edited by Rick Aiello on 30 May 2003 at 01:47 PM.]

This is great. It will take some serious study time for us new guys. I don't have any instruction material on C6 and have been focusing on A6 and E13. Do you have any material on either of these tunings. Or how would the C6 relate to the other tunings, in regards to slants.

Best regards,

Pat

Strings 2-1 (Reverse slant)

Here you are starting off with a "Major Third Interval" ... say 1-3 .... and by using a reverse slant combined with a slide up ... you produce a "Minor Third Interval" ... 2-4

Its the "interplay" between the Major Third Interval and the Minor Third Interval that gives Strings 2-1 their "signature" pattern between octaves.

String 3-2 (Forward slant)

Here you are starting off with say ... the 3-5 (the 6-1 open strings) ... a "Minor Third Interval" ... by applying a forward slant while sliding up you are converting it to a "Major Third Interval" ... 4-6.

String 5-2 (Forward Slant)

Here you are starting off with say ... the 3-1 ... a "Minor Sixth Interval" ... by appliying a forward slant while sliding up you are converting it to a "Major Sixth Interval" ... 4-2

The tunings you mentioned are made up of "Minor Thirds", "Major Thirds" and "Major Seconds" just like C6 ... So some of the same patterns will show up .

E13 (Lo to Hi)

D   E   G#  B   C#  E
7b  1   3   5   6   1 

String 2-1: Minor Third ... Forward Slant
String 4-3: Minor Third ... Forward Slant
String 4-1: Minor Sixth ... Forward Slant
String 5-4: Major Third ... Reverse Slant

I find reverse slants HARDER to execute on the "Inner Strings" ... Thats why the C6 (E on Top) is the "Primo" slant tuning (in my opinion) ... reverse slants on 2-1 and 4-1.

A6 (lo to Hi)

C#   E    F#    A    C#   E
3    5    6     1    3    5

String 2-1: Minor Third ... Forward Slant
String 3-2: Major Third ... Reverse Slant
String 4-3: Minor Third ... Forward Slant
String 6-3: Minor Sixth ... Forward Slant

As I mentioned with the C6 ... there are LOTS of other slanting opportunities with these tunin's (other 2 and 3 note slants) .... these are just some examples to "get ya goin' " .

Hope this helps ...

-----------------------------------

www.horseshoemagnets.com

[This message was edited by Rick Aiello on 31 May 2003 at 05:53 AM.]

I know its really you and Sol H. up there meltin' that polar ice ...

Jesse ... I'm not exactly sure what you are asking ... so I'll give you my "reasonings" behind viewing the fretboard as a "Slant-Board" and hopefully answer your questions.

I see everything in terms of intervals (probably because I only have use of my right thumb and right index finger and can only grag 2 strings at a time or strum & pick across adjacent strings for 3 or more notes).

When I see a C7 (I7) chord movin' toward an F chord (IV) in the Key of C .... I think:

C7
1-3 (C-E),
3-5 (E-G),
5-7b (G-Bb),
7b-3 {Bb-E)
5---3 (G---E),
3---1 (E---C), etc.

movin' toward ...

F
4-6 (F-A),
6-1 (A-C),
6---4 (A---F), etc.

To improvise ... I try to stay on the same pair of strings ... movin' from one of these intervals to another ... slippin' and slidin' .... movin' and pausin' .... and finally landin' on the right spot (hopefully)

To harmonize a melody ... I keep the melody on strings 1 and 2 ... and then choose the appropriate harmony notes that allow me to stay on the same two strings as much as possible (Thanks JB).

I see slanting as just a way to keep on the same two strings ... allowing me to maneuver from place to place without havin' to STOP the "flow".

As a side note ... I was very interested in Mike Neer's comments about triads in the modal thread and the building of "fancier" chords by superimposing different triads. I figure since triads are just superimposed intervals ... this interval approach must be "Sound" (pun intended) ...

Anyway ... y'all get those reverse slants "up to speed" so you can take full advantage of this powerful tuning ... and remember to "PLAY Tribute" to the architect of this "C6/A7 Slanting Machine" ...

Jerry Byrd.

[This message was edited by Rick Aiello on 01 June 2003 at 10:42 AM.]