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Basically, the Fb95b9 is really just a B7 chord with an F note, i.e. the tri-tone equivilent!

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Jeff; Any chance you could put that CP chart into Tab for C6th ??

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Paul, I've been suffering from "tab burnout" lately, so I haven't been doing whole tabs, but I can do a chord or two. I'm not sure what you need from that Charlie Parker progression. Are there particular chords that you are not sure of? Which ones?

[This message was edited by Jeff Lampert on 04 August 2002 at 06:13 PM.]

I went through all those chords in George M. Smith's guitar book in 1945.

Then I tried to do it on my 6 pedal Electra-Harp.

However, I had to leave it to the bass player to give me the chord root, lots of times.

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You gotta stop mis-spelling them chords, man. Every time you do that, I end up re-rodding my D-10

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The best answer is: If the lead player knows what the band is gonna play and crafts his/her playing to fit, it will sound ok. Obviously, it is best if the bass player and rhythm or keyboard player know what the lead player plans to do and they do the same (or something complementary).

For example, if the band is playing a straight C or C7 chord and you're playing C7b9, there may not be any 'tone clashes' -- other than the ones that are intended (the 7b9 chord has a C and C#, but that's what gives the chord its flavor). It is best to keep the 'clash notes' an octave apart, so problems may arise if you voice the C# low and the bass player is playing a C. It may sound cool, though, depending on the context of the song.

Or if the band is playing C6 or C7 (or even C9) and you play C13, it should be ok since both those chords are included.

Two principles:
If you are altering or extending a chord by adding notes nobody is already playing, you're probably ok.
If you substitute with chords built off the same scale you are probably ok. Like, if the band is playing D7 resolving to G and you play (Am7/D7/) G

Just some thoughts.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro

[This message was edited by Larry Bell on 09 August 2002 at 06:24 AM.]

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and fret 7 for however you get Gm7

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I still raise the A's to B and don't know why so many have dropped that change

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I sent this earlier but somehow it didn't show up. Regarding the Am6, A7, GM7:

I "messed around" with your last post on this. If you use the Am7 on fret 9 with "P6" and the A to Bb raise, then back off to fret 8 and let off P6, then use whatever M7 you get at fret 7. All right together:9/8/7.

I still raise the A's to B and don't understand why so many have dropped that change ("P4"). I guess most don't want more than the standard 8 floor pedals, so they substitute something else.

A long time ago, someone posted that several who ordered Franklins were going to put Pauls six string C6 change on P4. They dropped the idea when they found out it wasn't a "lick" pedal.

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There are other examples as well, but it helps to have those extra knees, at least IMO. BTW, that chord is a key part of My Funny Valentine (key of Eb/Cm), and Days Of Wine And Roses (key of F)

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I'd like to hear from you on my last response above

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Bob G.,
If you're asking about Paul Franklin's 6-pull pedal, I don't know how he uses it. I'd have to study it, which I haven't done, to get some idea, and even then, I don't know if I would see the purpose.

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The 7th string is the root. Do you usually leave it out?

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The D7b5b9 played at fret 9 with pedals 5,6 and lowering the 3rd string, would have no low root. It has a high root on string 2. It isn't necesasry to play the root to capture the essence of the chord. If you need a bass root, play it at the 12th fret, with pedals 5,6, and lower the 4th string. The 10th string is the root.