Can anyone recommend a fingering for this chord: CM7add6 ?
I like 7445 for the DM7 and 6411 for the F#M7 so something close by would be cool.
Thanks
Can anyone recommend a fingering for this chord: CM7add6 ?
I like 7445 for the DM7 and 6411 for the F#M7 so something close by would be cool.
Thanks
Marcus
Try 5225.
Thanks. That works.
Marcus
5777 might work in that context too.
4500
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2223
What's the context? If the added 6th is a meldoy note I would interpret the symbol as a Cmaj7 against that note, preferably without the 5th, e.g., c-e-b-*
Moving doublestops: you can shift or slide between any of these, putting the various intervals into the ear, though succesively rather than simultaneously.
==============================
==============================
=2==5==7==9==10===============
=0==2==4==5===9===============
The C chord intervals Intervals (CMaj7add13) for above examples:
5/3 == 6/5 == M7/6 == R/M7 == 3/R
Or.... getting more complicated, still doublestops but delivered via interlocking slurs (pedal steel players do a lot of this type stuff)
======================================
======================================
==2^5========2^^^5=======5^s^7========
==0^^^2========0^^^2===2^^^s^4=========
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Context really is everything. Technically, this chord would (arguably) be called a CMaj13, and could also imply the 9th (D) in addition to the 7th (B) and 13th (6 or A). Lotsa notes to cover with only four voices (C,E,G,B,D,A), but context would help sort out which are the most important. Theory geeks, talk amongst yourselves...
The context is now (the song has changed a bit from my original post) a three chord phrase that ends each verse in a Steely Dan-esque jazz tune:
BM7 F#M7 CM7add6
The melody line is: B F# E
The 6 is not a melody note but it gives the final chord a kind of unsettling feel, which works in the song.
Anyway, I like the voicing of the 5225. But the 2223 is easier for me to get to so I am going to use that.
Thanks for the help and the discussion.
Marcus
I would think it matters greatly how you voice the chord before it (and, if there were one, the one after it)
You've got plenty of answers, so I am going to drift a little.
My first inclination was what you were actually looking for was a Cmaj13 as Ted suggested. My mando is in the case but I always have a guitar nearby, so I picked it up. A true CM7add6 turned out to be really simple on guitar. X32203 gives a voicing of R3675, getting the 6th in under the 7th.
Cool chord! Now I gotta find a place to use that one!
A couple years ago I came up with an Amin-maj9 chord (again on guitar, X06557.) Only recently did I find a use for that. It is now the last chord in the arrangement my duo partner and I came up with for St. James Infirmary Blues.
I've become quite fond of these chords and I enjoy the WTH? expressions I get from other musicians when I play them.
Yes it is a cool chord. My song writing partner is a guitar guy and sometimes the tunes he gives me to work up lyrics for have chords that I don't quite know how to play yet on the Mandolin. This one has a three chord phrase which I play 411X for the BM7 and 6411 for the F#M7 and now 5225 for the CMadd6.I had been playing just a CM7 because I didn't get the 6th thing. We have another song we fit this same chord into that has this progression: CMadd6 Bm7 C9 D. I play OO1O for the C9 and together with the CMadd6 it creates a real forlorn sound. It's amazing the power these notes in combination have to instill a mood. I really like this aspect of playing the mando; I mean as opposed to focusing on melody lines all the time.
Marcus
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