It shows all the grips, first and second inversions and has notes on transition chords using a common root note.

I'll be working on the 7ths next.

I'm happy to distribute it to anyone who wants but I don't want to have to email to everyone. If anyone can host it for download, that would be best. Let me know.

Let me know if the first spread sheet needs anything or if you have any questions on how I organzied the information.

Maybe Reece will chime in here with some information about what plans he has. With his incredible teaching style I bet it would sure be a big help with this 12 string tuning.

quote:

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As I continue, I'll either add them to the old spread sheet or make a new one, which ever is easier for Rick

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Just so everyone knows what they are looking at:

There are 3 tabs. when you open it, you will see a notes page which shows the grips you will need to play the triads and some interesting chord transitions that can be done using a common note in the bass.

then there are 2 tabs - one for minors and one for majors. these are just 3 note triads. I have eliminated ackward or impossible grips. On each page you will see a representation of the first 12 frets. Boxes indicate the chord and I have included their interval. Within a single fretboard diagram, if the boxes are the same color that indicates the same chord but at different location on the neck. Different colors represent different chord voicings.

there is a chart for primary position, a chart for 1st inversion and a chart for 2nd inversion for each major and minor. I have not included slant possibilities.

I'm working on 4 note chords next. I wanted to start with triads. My plan is to tackle 4 note chords starting with 7ths next.

C6 12		C root	A root	F root	G root	E root	D root	B root
1	D	2/9	4/11	6	5	b7	1	b3
2	B	mj7	9	5	3	5	6/13	1
3	G	5	b7	2/9	1	b3	4/11	
4	E	3	5	mj7	6/13	1	2/9	4/11
5	C	1	b3	5	4/11		b7	
6	A	6	1	3	2/9	4/11	5	b7
7	G	5	b7	2/9	1	b3	4/11	
8	E	3	5	mj7	6/13	1	2/9	4/11
9	C	1	b3	5	4/11		b7	
10	A	6	1	3	2/9	4/11	5	b7
11	F	4	6	1	b7		b3	b5
12	D	2/9	4/11	6	5	b7	1	b3
		C6mj7 9		F6mj7 9		Em7 11		Bm11
			Am11		G13		Dm13	

You can look through this chart and find all sorts of triads and quadrads.

Here is what you get with the 8-string tuning.

Hi C6 8		C root	A root	F root	G root	E root	D root	B root
1	G	5	b7	2/9	1	b3	4/11	
2	E	3	5	mj7	6/13	1	2/9	4/11
3	C	1	b3	5	4/11		b7	
4	A	6	1	3	2/9	4/11	5	b7
5	G	5	b7	2/9	1	b3	4/11	
6	E	3	5	mj7	6/13	1	2/9	4/11
7	C	1	b3	5	4/11		b7	
8	A	6	1	3	2/9	4/11	5	b7
								
		C6mj7 9		F6mj7 9		Em7 11		Bm11
			Am11		G13		Dm13	

Because you are missing the top and bottom two strings, some of these no longer have the actual root, but you can still get diads, triads and quadrads that work for substitution and passing chords, and even primary chords (with the bass player typically supplying the root).

Just as an example, the blues pocket Reece showed us used strings 6, 5, and 4. If you look under the E root column, you will see that the root (1) is on string 6, and you get a 1 b3 4 series. If you move up two frets, on strings 4 and 3 (in the D root column) you add the 5th and b7 to the series (since D is two frets below E, you have to move up two frets to keep it in the same key). This is a whole pentatonic blues scale.

I've sent these charts to Rick as Excel spreadsheets. He can add them to his site if he wants to.

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Student of the Steel: Zum uni, Fender tube amps, squareneck and roundneck resos, tenor sax, keyboards

[This message was edited by David Doggett on 01 March 2006 at 08:09 PM.]

I'll make the change in the spreadsheet and have Rick swap it out in a day or two.

Those of you who have already downloaded it can make the change yourself: just change 1st to 2nd and visa versa.

It has also been pointed out that on the minor triad I did not go with the am instead of the cm.

that is true but on purpose. I wanted to make everything C so I wouldn't think in a particular key. So that was by design. Thanks for the feedback.

UPDATE: Corrected file has been sent to Rick so as soon as he swaps it out it should be correct.

[This message was edited by Bill McCloskey on 02 March 2006 at 04:51 AM.]

quote:

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It's been pointed out to me that I got my inversions reversed

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Aggghhhh! That explains it! I've been trying to play Carolina Moon, and it comes out as Moon Carolina...(I)....

[This message was edited by HowardR on 02 March 2006 at 07:58 AM.]

These charts are both looking real good - handy resources for afficionados of Reece's tuning.

[This message was edited by Rick Alexander on 02 March 2006 at 01:48 PM.]

I started working on the next chart in my spreadsheet outlining the chords and scales in Reece’s 12 string tuning and I came up on some interesting insights, at least for me.

My first step was to start with the standard C major scale and create a comprehensive outline of all the notes in the scale and where they lay on the fretboard. I also color coded each chord note of the scale based on the octave it was in.

There were notes scattered all over the fretboard of course, but what became apparent, is that certain notes bunched up closer to certain frets: the nut, 7th fret, and the 12th fret where the places that most of the notes bunched up. So far so good.

The insight (especially knowing exactly where each chord note in each octave lay) was that what was important here was not knowing every scale notes placement on the fretboard: what was more important was knowing which ones I could forget about.

In other words, an examination of the efficiency of the fret board. I started eliminating notes that were found easier at a different part of the fretboard and where the chord notes lined up as much as possible across the fret. Notes that took 2 fret movements to get to, where eliminated if I could get there just as easily using 1 fret movement. Since the 4th is an avoid note in C major, I deleted the box next to it to indicate a note, but left the fact that it was a 4th in the spread sheet. That way I could visualize exactly the most important notes in the scale.

By the time I was done I had a very clear and efficient road map on where each scale fell in each octive that spelled out a major 7th chord. I then highlighted areas that spelled out the 9th chord as well. I know had all the notes I needed and only the notes I needed to truly understand the fretboard.

Since I had already built an efficient scale map around the Major 7th chord, I then went to the Aebersold scale syllabus to start creating scale maps for all the scales that are associated with a Major7th chord spelling. The first one on the list was C Lydian (which has raised 4th).

I reworked my map to create the same efficiencies with the chord notes remaining the same.

Here was the next insight. In the past, thinking about Modes, I knew that C Lydian was the same scale as G major. In the past I would have played a G major scale on the place of the neck where the G Major chord would lie. So for some reason I was expecting to see the C major scale pattern pop up on the neck , except transposed somewhat. What I got was a completely new pattern. Why?

Then it dawned on me. While the notes are all there playing the G major scale, none of the chord tones for C Lydian (CEGB) would line up on the fret line. What would line up on the fret line would be GBDF#. By rethinking modes and connecting them to where the chord tones line up on the fret line, it gave me a whole new and efficient way of playing modes: tying the scale and chord together in an efficient road map.

you are talking chords, I'm talking scales.

[This message was edited by Bill McCloskey on 03 March 2006 at 10:44 AM.]

While it is true that in the scale the 4th degree is raised in Lydian, in building chords it's not referred to as #4, but #11.

But I understand now that you only want to take it to a 7th chord.

[This message was edited by Mike Neer on 03 March 2006 at 11:07 AM.]

Mike,

I am completely and utterly aware of that. that is not what I was talking about. In refering to the Lydian SCALE it is refered to as a raised 4th. My post was all about SCALES, not chord extensions.

I realize I was trying to write about something that needed a visual to go with it, so that you could visualize what I was talking about.